365. Peeping Tom (1960)

Running Time: 101 minutes
Directed By: Michael Powell
Written By: Leo Marks
Main Cast: Carl Boehm, Anna Massey, Moira Shearer, Maxine Audley, Brenda Bruce

POWELL AND PRESSBURGER WEEK: PART 6 - THE CONCLUSION

Well for the conclusion of "Powell and Pressburger Week" we drop Emeric Pressburger and take a look at a film that Michael Powell tackled on his own. It was a turn for Powell, from his normally much more tame and innocent movies and delved into the world of murder, lust and fear.

The film opens with our main character, a man we later identify as Mark Lewis (Boehm), murdering a prostitute and using his handheld camera to film her as she takes her dying breath to scream. The entire scene is shot P.O.V. and was actually quite effective in roping me in and getting me ready for something very un-Powell. Later we finally see the face of our predator and we learn that he is a photographer/cameraman. He has many different irons on the fire. Sometimes he goes to the local newspaper shop and photographs lurid pictures of models for the owner of the shop to sell in his store. In fact, one of the best scenes in the film is that of a man purchasing racy photos and having them wrapped in a package marked "educational books". When Mark isn't being an amateur Playboy photographer, he works on the film crew of a movie that is being shot, in hopes of one day being a filmmaker himself. Mark lives in a house that he owns and leases out the extra rooms. One day our shy predator is forced into striking up a conversation with one of his neighbors/tenants Helen (Massey) and as the film progresses Mark becomes attached to her. Mark continues to film many different things - from the women he murders, to the police that carry away his victims.

POSSIBLE SPOILER ALERT!

I didn't like it! Sorry for being so blunt, but there's no use skipping around the facts. But don't worry, I can back up my opinion.

After seeing five movies that Michael Powell and his partner Emeric Pressburger did together and coming to the realization that these were men who made innocent films, that appealed to a very mature, classy and tame audience, I was really caught off guard when the opening scene of "Peeping Tom" showed a street straight out of "Nighthawks" and a prostitute about to get offed. I was excited, because in all of the P&P films there did lie an element of intrigue for me and in my mind, this was going to be the one that really made me realize what a visionary Michael Powell really was. I was, unfortunately, wrong. This movie was just a bunch of scenes thrown together and there really didn't seem to be any concept of linear storytelling. Not that the film wasn't straightforward, it just seemed to me like there were so many scenes that were just thrown in and made absolutely no sense. Take for instance, the VERY long scene where Moira Shearer dances around a cluttered movie set, alone in a dark room with Mark. It just seemed like a cheap way to write a part in for Moira and while I have no objections to watching the very beautiful Moira Shearer dance, it just seemed so out of place.

Then you have things that just don't make sense on a sense making level. Helen Stephens finds Mark peeping through her living room window and she responds by delivering a piece of her birthday cake to his door. Really? I mean, it just doesn't make sense. She should be frightened of Mark, because she has noticed him peeping at her and though she tries to communicate with him, he seems the type of character who would never allow her to get close to him, let alone allow her into his beloved dark room. Then you have Mark going from a film set to a newspaper shop and doing all these different things and then we get his back story, which is seemingly an effort to garner sympathy for Mark, but it didn't work with me. Mark was entirely too quiet too. I want a movie murderer like the guy in "Frenzy" who worked at the fruit market. It was so frustrating hearing Carl Boehm deliver his lines in a very halting, quiet tone. Anna Massey was annoying too and she seems to be the one that gets through to Mark the most. Honestly the character who finally breaks through Mark's wall should have been far less annoying.

Ultimately, the entire film was way too chaotic and random and unenjoyable. I think there was definite potential and if I had a chance to put in my input, I would've wished Powell would have kept it more simple. Mark kills women and films their dying reactions. That's all you need. Why does he do this? Because he's a sexual predator/pervert who gets off on such things. Don't give me all this mumbo jumbo about his father throwing lizards at him while he's in bed and shining flashlights in his eyes to wake him up. The character, in my opinion, should have been more perverse. I hate to sound like a total sicko, but a little more perversion on Mark's part, a little more nudity and a lot more P.O.V. shots would have given this movie the gritty feel that I felt it lacked big time. Don't get me wrong people, I don't NEED nudity in my films, but this was supposedly the first British film to feature nudity and so obviously Powell thought it was relevant too.

RATING: 3/10 A few scenes were good and it had all the potential in the world, but it was ultimately a MAJOR disappointment and a bad way to wrap up the week dedicated to Michael Powell and Emeric Pressburger.

MOVIES WATCHED: 231
MOVIES LEFT TO WATCH: 770

March 11, 2011 9:39pm

211. The Red Shoes (1948)

Running Time: 133 minutes
Directed By: Michael Powell, Emeric Pressburger
Written By: Michael Powell, Emeric Pressburger, Keith Winter, from story by Hans Christian Andersen
Main Cast: Moira Shearer, Marius Goring, Anton Walbrook, Leonide Massine, Robert Helpmann

POWELL AND PRESSBURGER WEEK: PART 5

Fighting some minor personal health issues, I was still able to muster up the commitment to check out "The Red Shoes" via the streaming portion of Netflix. My wife had been telling me since I started on the journey to watch the films of Powell and Pressburger, that "The Red Shoes" was excellent. Somehow I was still hesitant - I mean, come on, a movie about ballet? But, as usual, my wife was the one who was right.

The movie follows the Lermontov Ballet Company, which is headed up by Boris Lermontov (Walbrook). Upon the films opening, hundreds of people are jamming themselves inside a theatre to catch his newest production. Following the production, a party is held, where Boris meets Victoria Page (Shearer), who was hoping to dance for Mr. Lermontov at the party, but he declines the proposal. When he asks her "Why must you dance?", she combats with a question of her own - "Why must you live?". He tells her to come to auditions and that he'll see if he can make a part for her. In the meantime, Lermontov is also called upon by a young man, Julian Craster (Goring), claiming that the composer of Lermontov's previous ballet has ripped him off and used music that Craster himself wrote. Lermontov eases the boy and offers him a job - he accepts. Some time goes by, Craster earns his stripes and the reputation of being a hard worker and Lermontov realizes the greatness that is Vicky Page when he silently attends her rendition of Swan Lake of a much smaller production. Upon realizing the capabilities of his newest attributes, Lermontov begins production on "The Red Shoes", a story about a girl who goes to a ball wearing a pair of red shoes and at the end of the night can't seem to get them to stop dancing. The shoes eventually dance her until she dies. He casts Vicky as the lead role, despite everyone's hesitancy that she's ready and puts Craster in charge of the music.

POSSIBLE SPOILER ALERT!

You can certainly imagine my hesitancy as I prepared to watch "The Red Shoes". Michael Powell and Emeric Pressburger have yet to really "WOW" me with one of their pictures and ballet doesn't really get me into an uproar. However, I was totally dazzled by this film! It was probably one of the most colorful, vibrant and energy filled films I've seen, since Fellini's color films. There were images that frightened and images that were absolutely gorgeous. There were images that just made you sit back, clear your head and take everything in, as it came whipping at you through the screen. Moira Shearer was beautiful and watching her twirl and dance around on the stage during "The Red Shoes" ballet scene was a sight for sore eyes. I could have watched an entire film of JUST Moira Shearer dancing the dance of "The Red Shoes" and been completely satisfied. But, no, "The Red Shoes" wasn't just dancing and Moira Shearer wasn't the only standout part of the cast.

Anton Walbrook, in my opinion, was amazing. I love it when actors can really act and really add a flair to their dialogue, as it makes me want to hear every single word that they say and just hear them deliver. I know that doesn't make a whole lot of sense, but when Walbrook spoke in this film, I listened, as he had a voice that commanded attention. Marius Goring was really good too and I didn't even realize until just now (when I looked it up) that he was the same man who played the Conductor in "A Matter of Life and Death". Such a different role he plays here and a much more likable one.

If you want to see some real color, vibrancy, great choreography, a great story, great acting, some tragedy and the beautiful, light on her feet Moira Shearer, then check out "The Red Shoes". The only nitpicking I'd do on it is that it does drag a little in the beginning and a little in the end, but what is sandwiched in between is some great stuff and worth a look from your eyes.

RATING: 7.5/10 I'll go out on a limb and say that "The Red Shoes" is the best Powell & Pressburger I've seen thus far. I enjoyed "A Matter of Life and Death" more, but this one was enjoyable and just flat out quality stuff. Next: We finish Powell and Pressburger week and cut out the Pressburger part with "Peeping Tom".

MOVIES WATCHED: 230
MOVIES LEFT TO WATCH: 771

March 9, 2011 8:42pm

194. Black Narcissus (1946)

Running Time: 100 minutes
Directed By: Michael Powell, Emeric Pressburger
Written By: Michael Powell, Emeric Pressburger from novel by Rumer Godden
Main Cast: Deborah Kerr, David Farrar, Flora Robson, Kathleen Byron, Sabu

POWEEL AND PRESSBURGER WEEK: PART 4

Yikes! I know I say this more often than I should, but I'm going to say it again - this film was not for me. For those of you who are still interested, "Black Narcissus" is currently streaming on Netflix, so don't take my word for it, feel free to judge for yourselves.

The plot of "Black Narcissus" begins and ends with a group of nuns. Headed up by Sister Superior Clodagh (Kerr), the group of nuns travel to a remote location in the Himalayas, to a palace called Mopu, where they intend to build a school/hospital. They feel that the people in this part of the world could use the guidance of the nuns. Once they arrive, they are told that the palace is a converted harem. They are also told that everyone who comes to their convent is being paid to do so and that they shouldn't take on any sever cases in the hospital, because failure to save someone who is severely injured would make the people turn on them. Along with the Sister Superior, the nuns that join her are Sister Briony (Judith Furse) for her strength, Sister Honey (Jenny Laird) for her popularity, Sister Philipa (Robson) for her gardening skills and Sister Ruth (Byron) for her instability. The head mother feels that it would do Sister Ruth some good to go and be a part of the project. After spending some time there, the nuns all succumb to some type of temptation, with Sister Ruth being the most notable. Meanwhile, Sister Superior Clodagh is trying to forget an old romance and trying to fight off her attraction to Mr. Dean (Farrar), the local British Agent stationed at Mopu.

POSSIBLE SPOILER ALERT!

Another thing that I know I say a lot and don't stick to is - "I'm going to try to keep this review short". Trust me folks, I'm really going to TRY and keep this particular review as short and as sweet as I possibly can. Aside from the last twenty minutes or so of "Black Narcissus", where Sister Ruth snaps and we're treated to that magnificent reveal of a woman, who previously was entirely covered by the usual nun get-up, dawned in all red complete with bright red lipstick, this movie was a big wash out for me. It just seems that Powell and Pressburger seem to have their fingers on exactly what I'm not interested in and they're making movies just to spite me. I'm not interested in war, yet I struggled through "Colonel Blimp" ("struggled" is a strong work, that film IS growing on me). I wasn't interested in the slightest in "I Know Where I'm Going!" yet I struggled through that ("struggled" is the perfect word here...that film did NOTHING for me) and now I'm forced to struggle through a picture about nuns, a subject that held zero interest for me and once again reminded me of an "old persons film".

One major gripe I have is that all of the sisters looked the same and thus it was confusing in trying to tell them apart. Now, I hope I'm not uncovering my own unintelligence or ignorance by revealing that fact, but it's the truth. Like I said, all of the nuns were dressed in the usual nun get-up - you know the dress code in that profession - covered in head to toe in clothing with only your face showing, from your chin to the middle of your forehead. Aside from the slightly chunkier Sister Briony, all of the other women were approximately the same age and had facial features that resembled one another. Unless they referred to each other by name, I had a hard time telling who the hell was speaking. It also seemed that there were too many subplots that just never panned out or were possibly forgotten about. It was like "P & P" were foreshadowing to certain things and then forgot to follow up on them. What about the old man who was constantly sitting Indian style on the hill - whatever happened to him. It seemed as though they were prepping us for this character to become an integral part of the story, but he didn't. David Farrar was a good enough actor, but why was he even there, other than to tempt the sisters. He really didn't have a place and just seemed to pop in and out at random points and raise the sexual ire of the nuns. And what about the Sabu's character and his relationship with Kanchi (Simmons). Neither Sabu, nor Simmons' characters seemed to go anywhere and once the two began a romantic relationship they pretty much disappeared. And lastly, all of the flashbacks from Sister Clodagh just seemed unnecessary and seemed to elude to a possible breakdown or departure from "nunnery" for her character, that never came.

I've rambled on long enough. In the end, I am able to chalk "Black Narcissus" as the highest contender in the "not for me" column and write it off as "just another film watched" in a much bigger effort to watch all of the films in the "1001" book. I tried, it just didn't impress.

RATING: 2/10 I know that seems really harsh, but that's about the highest it's gonna' get from me and anything higher would just be me trying to win the hearts of the "P & P" fans.

MOVIES WATCHED: 228
MOVIES LEFT TO WATCH: 773

March 7, 2011 4:08pm

191. A Matter of Life and Death (1946)

Running Time: 104 minutes
Directed By: Michael Powell, Emeric Pressburger
Written By: Michael Powell, Emeric Pressburger
Main Cast: David Niven, Kim Hunter, Roger Livesey, Marius Goring, Raymond Massey

POWELL AND PRESSBURGER WEEK: PART 3

The only Powell & Pressburger film in the "1001" book that is not currently streaming on Netflix is "A Matter of Life and Death", and it's also the first Powell and Pressburger film that I really, genuinely enjoyed. Let's jump right into it, shall we?

Squadron Leader Peter David Carter (Niven) is a member of the Royal Air Force and as "A Matter of Life and Death" opens, he is in a bad way. His bomber is severely damaged, flaming and his entire crew has bailed out. Carter himself is about to bail out, as he gets in touch with an American radio operator stationed in England, but he is missing a parachute and plans to bail out anyway. As they talk, in what he believes are his final minutes on Earth, he falls in love with her and before he bails out he tells her to send a telegram to his Mother, telling her that he has always loved her, despite not showing it. He jumps and lands on a beach, destined to be dead. However, due to a mistake by Conductor 71 (Goring) from the "Other World", Carter lands on the beach with a small scratch on his head and that is all. It seems that the heavy fog interrupted Conductor 71 from deeming Carter dead and thus he is given 20 hours of free time, when he should've been in the Other World. Carter awakes, thinking he is in the Other World, but soon finding out that he isn't and immediately finds June (Hunter), the radio operator. Conductor 71 eventually comes back and informs Carter of the mistake, but Carter demands an appeal, stating that during the 20 or so hours of borrowed time, that he has fallen in love and it's not his fault that the Other World made a mistake. June seeks the advice of her dear friend, Dr. Reeves (Livesey) to help Peter deal with his "hallucinations".

POSSIBLE SPOILER ALERT!

I was disappointed to see that this will be the last time that I get to enjoy the acting chops of Roger Livesey in a Powell and Pressburger film, but was able to confirm my suspicions - that Livesey was a fantastic actor, as was this entire cast basically. David Niven did a fine job, but it was Livesey, along with Raymond Massey that really impressed me and especially their scenes as they sparred on the court room floor in a war of words and argued the case of Peter Carter in a world resembling Heaven. There really wasn't much to dislike about "A Matter of Life and Death". To me, it was Powell & Pressburger's grandest achievement so far, at least as far as what I've seen. This was their masterpiece, with absolutely stunning set design and glorious technicolor shots mashed together with beautifully shot black and white scenes. The stairway scene was one of my favorites as the set was just a sight to behold.

There's not much left to say about "A Matter of Life and Death" (re-titled "Stairway to Heaven" for American release). If you're looking for brilliant acting - this film has it. If you're looking for a movie that really looks like an epic movie, without the epic time - this film has it. If you're looking for a mash-up of genres - this film has it, mixing a real life love story with the fantastical world of "the other side". I may dock it a few points for a little down time near the middle, where it may have slightly lost my interest. But in the end, there's no denying that this film was grand. Case closed.

RATING: 7/10 Knee jerk. Currently am feeling about a '7', but that could easily go up with time. On a side note, I'm already regretting my "Life and Death of Colonel Blimp" rating, as it should have been higher. Next up: "Black Narcissus".

MOVIES WATCHED: 227
MOVIES LEFT TO WATCH: 774

March 5, 2011 9:11pm

181. I Know Where I'm Going! (1945)

Running Time: 92 minutes
Directed By: Michael Powell, Emeric Pressburger
Written By: Michael Powell, Emeric Pressburger
Main Cast: Wendy Hiller, Roger Livesey, Pamela Brown, Finlay Currie, George Carney

POWELL AND PRESSBURGER WEEK: PART 2

Next in our week dedicated to the writing and directing team of Michael Powell and Emeric Pressburger is "I Know Where I'm Going!". It's currently streaming via Netflix for those interested, but I'd say it's only for die hard fans of Powell and Pressburger who have yet to see this one. Personally, I was not enthused with it.

The plot is incredibly dry, in my opinion, and revolves around Joan Webster (Hiller), a woman who has always known exactly what she wanted and has made sure always to get it. From her days as a girl when she wrote to Father Christmas and asked him for a pair of silk stocking - "real silk, not imitation!", to her days as a young woman when she would find a man who would take her to the movies at least twice a week and to a nice restaurant once a month. As an adult, she has made up her mind on marriage and is determined to go to the Kiloran to marry a wealthy businessman, old enough to be her father. In fact, the film starts as she breaks the news to her own father and hops a train for her first stop in a number of stops before she finally arrives in Kiloran. Her last stop before catching a boat to Kiloran is the Isle of Mull, where she is forced to wait out the weather, first fog, which later turns to a full-scale gale. While stranded on the Isle of Mull, Joan meets several people, most notably Torquil MacNeil (Livesey), whom she becomes acquainted with. They basically mingle and get to know one another while they're stuck on the island, as MacNeil is also trying to get to Kiloran. Ultimately Joan can't bear to wait any longer and bribes a young sailor to take her to Kiloran, which leads to the films best scene as the young sailor, Joan and Torquil nearly die trying to get to Kiloran.

I've always tried to prevent myself from using the word "boring" when trying to describe the reasons why I don't like a film. I just think it's a very lazy way to sum up reasons for dismissing an entire production. However, I am going to use the word boring, but I will back that word up with some reasoning. This film was boring! There I've said it - now lets examine why, shall we? First of all, the entire plot revolves around a woman who know what she wants and in the end her plans are changed and she is forced to come to the realization that for the first time in her life she is living spontaneously. That's the core of this movie. In the meantime, she meets Torquil and they become friends, tip-toeing around a romantic relationship. I just found everything very dry and very uninteresting. Bearing in mind that I've only seen two of their pictures thus far, Powell and Pressburger seem to be making films that appeal to a much older audience. I can almost imagine my grandparents sitting around and watching the type of film like "I Know Where I'm Going!" on a Saturday afternoon, as it rained outside and they were huddled under afghans. It's not to say that I am not mature enough to realize the interest in a film like this, it's just that it all doesn't appeal to me and in the case of this particular film, I honestly don't understand how it can appeal to anyone. I found myself watching the clock, like a hawk and wanting this movie to just end and thank God it was only an hour and a half.

As for the positives, as few as there are, I think Roger Livesey was a great actor, although I did enjoy him in "Colonel Blimp" more than I did here. I also highly enjoyed the boat scene, where the trio were almost sucked into a vortex in the water. It was filmed really well and provided a little action and excitement in a film where excitement seemed to be banned. In fact, the camera work was all around really solid and there were a couple of really good shots, so kudos on that. That's about it, as far as pluses go. I'll keep this one short and sweet and suffice it to say that I did not enjoy "I Know Where I'm Going!".

RATING: 3/10 I'm not giving up on Powell and Pressburger just yet. Next up is "A Matter of Life and Death" and I have high hopes for this one. Should be back later today for that review.

MOVIES WATCHED: 226
MOVIES LEFT TO WATCH: 775

March 5, 2011 2:58pm

160. The Life and Death of Colonel Blimp (1943)

Running Time: 163 minutes
Directed By: Michael Powell, Emeric Pressburger
Written By: Michael Powell, Emeric Pressburger
Main Cast: Roger Livesey, Deborah Kerr, Anton Walbrook, Ursula Jeans, John Laurie

POWELL AND PRESSBURGER WEEK: PART 1

Well I figured it'd be a good time to kick off another series dedicated to a certain director (or director's, in this case). I realize that I've been abandoning the earlier films in the book, so decided to focus in on Michael Powell and Emeric Pressburger, as the majority of their films were made in the 1940s, which is the earliest decade that we have left. First up, "The Life and Death of Colonel Blimp", which I didn't despise, despite early thoughts that I would.

Major General Clive Wynne-Candy (Livesey) is relaxing in a Turkish bath, when he is bombarded on by a group of soldiers. Candy had called a training exercise - "War starts at Midnight" - but the soldiers decided to jump the gun and capture Candy hours earlier. As Candy argues with the officers and they tussle, we begin our journey backwards for a look into the Major General's life. We head all the way back to 1902, when Clive Candy decides, against orders, to go to Berlin to confront a man named Kaunitz for spreading propaganda and saying that the British killed women and children during the Boer War. Upon his arrival he meets with Edith Hunter (Kerr), a friend's acquaintance who alerted him to the propaganda and they go to a cafe where Candy is provoked by Kaunitz and he ends up punching him in the mouth. A duel is scheduled, in which Candy gets his lip nearly severed (which leads to the growing of his epic moustache) and his opponent gets his forehead cut. While recuperating in a nursing home, Candy befriends Schuldorff (Walbrook), his opponent in duel and allows Edith to slip away and marry Schuldorff. He doesn't realize until later that he loved Edith Hunter. From there, Candy's time during World War I and his later years, as he gets married and re-acquaints with Schuldorff, are covered.

POSSIBLE SPOILER ALERT!

This film was made during the height of World War II and was surely made to speak against the tactics that were being used by the Nazis. It was probably made for reasons that pertained to the current situations, but I didn't view it as such. Instead, I viewed it as a story about the life of a noble man. I guess you could say that if you give me a movie about a man, real or fictional, then I'm interested in how that man evolved. How he may have gone from hotheaded youngster, eager to defend his country from slanderous propaganda to an old man who just yearned to be needed. For me, the best part of "The Life and Death of Colonel Blimp" was the friendship that Major General Candy had with Theo Kretschmar-Schuldorff. The story of their friendship, in my eyes was fantastic. They meet as opposition holding swords and declaring duel, not knowing one another personally, just knowing one anothers politics. They maim one another and as they recuperate they become friends. Years later, Candy finds Schuldorff and is befuddled when he is ignored by his old friend - such a sad scene. The ignorance is eventually explained, they reunite and part ways again and twenty years later, it is German native Schuldorff trying to gain access into England, as he doesn't agree with the Nazi ways of his current Germany. An incredibly touching scene, as Schuldorff chronicles his previous years, the death of his wife and the loss of his sons to the Nazi party.

This wasn't the best thing I've seen thus far and far from it, but I did enjoy parts of it. Like I said, I didn't view this as your typical war movie, but rather a movie about friendship, love and the evolution of a good man. It flowed along quite nicely too at a running time of nearly three hours and I didn't find myself staring at the clock at all. It would come with a mild recommendation from me, but in the end, it wasn't entirely my cup of tea.

RATING: 5.5/10 I know that seems a harsh rating after my praise, but this really wasn't my thing and I hope for better, more intriguing things from the duo of Powell and Pressburger. Next up: "I Know Where I'm Going".

MOVIES WATCHED: 224
MOVIES LEFT TO WATCH: 777

March 1, 2011 7:19pm