The Outrage (1964)

Rashōmon, set in the Wild West.

I hadn’t heard about this film, let alone seen it, till a few weeks back, when blog reader Hurdy Gurdy Man, commenting on my review of Rashōmon, mentioned it.

Rashōmon—and the Rashōmon Effect—fascinates me, to the extent that I will watch just about any film, read just about any book, that uses this potentially gripping style of multiple narratives. From Andha Naal to The Woman in Question: I am game for them all. So The Outrage, starring one of my favourites (Paul Newman), and in a genre for which I have a soft spot (Western) was immediately bookmarked.

 

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Ten Thousand Bedrooms (1957)

A hundred years, ago, on June 7, 1917, in Ohio was born Dino Paul Crocetti, the son of an Italian immigrant and his wife, also of Italian origin. Dino spoke nothing but Italian until he was five years old—and didn’t have an easy time growing up, what with having to work jobs as varied as that of a steel mill worker and a gas station attendant. Until 1946, when he finally landed up in Hollywood, changed his name to the more Anglicized ‘Dean Martin’, and teamed up with comic actor Jerry Lewis in a series of comedies. They were to part ways some years later, but Dean Martin went on to become a far greater star—as actor and as singer—than anyone could ever have imagined.

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Lucky Star (1929)

Lucky Star is a movie of moments.

A moment when a man, washing down the head of a young girl who’s grubby as can be, happens to ask her how old she is, and realizes, with a start of embarrassment, that she’s not the kid he’s imagined her to be, but a young woman.

A moment when a girl, grateful for the support and friendship of a crippled man, hugs him—and he, after a moment of euphoria, realizes that the love is all on his side; she does not see him as a lover, but as a friend, perhaps as something like an elder brother.

A moment when a crippled man, desperate to be ‘normal’ again, rises painfully up on crutches, grins in triumph—and crashes to the floor the next instant.

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Under Capricorn (1949)

Alfred Hitchcock is, for me, the cinematic equivalent of writers like PG Wodehouse or Georgette Heyer or Agatha Christie: I see their names on a work, and I know that this is something I can read (or watch, in Hitchcock’s case) and almost certainly not end up finding it a waste of time. The other day, trawling Youtube for something to watch, I came across Under Capricorn. I had heard of this one before, but besides being aware that it had been directed by Hitchcock, I knew nothing of the film. A good opportunity to watch a Hitch film I hadn’t seen.

This story begins in an unusual location (for Hollywood, that is): below the Tropic of Capricorn, in Australia. Set in 1831, Under Capricorn begins one day in Sydney, where the new Governor (Cecil Parker) of New South Wales, having just arrived on the continent from Ireland, is addressing the people. His welcome, while all gleaming brass and starched uniforms on the official side, is lukewarm when it comes to the general public. They aren’t especially impressed.

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The Women (1939)

Much is made of International Women’s Day, and I find myself inundated with messages relating to that, beginning a week in advance of March 8. Promotions from online retailers, newspaper ads, flyers offering discounts on everything from spa treatments to cosmetics: it’s all there. I however tend to mostly ignore Women’s Day and treat it just as another day.

This time, though, I thought: why not post a review of a film that puts women in an important role? It occurred to me then that it had been years—more years than I could remember—since I had watched The Women. And that this might be a good excuse to rewatch a very unusual film: unusual, not because of the story (which isn’t so very offbeat), but because of the fact that the film has no male characters appearing onscreen. Men are there in The Women, but they are neither seen nor heard.

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Signpost to Murder (1964)

This film has been on my radar for a long time now—since I discovered that one of my favourite Hindi films, Ittefaq, was based on Signpost to Murder. The other day, I was again reminded of that, and this time decided I had to watch the original.

Signpost to Murder begins in an English village named Milhampton. Here, at a local asylum for the criminally insane, lives Alex Forrester (Stuart Whitman). Alex, who was accused of murdering his wife, has been in the asylum for the past five years. When the film opens, he’s outdoors, shoveling earth in the shadow of the high electric fences that surround the institution. With Forrester is his psychiatrist, Dr Mark Fleming (Edward Mulhare). Fleming has known Forrester these past five years and is due to represent Forrester in an upcoming debate regarding the possibility of bringing up Forrester’s case again.

Forrester and Fleming have a chat

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The Best Years of Our Lives (1946)

The very first English language film I remember watching was a war film (a farcical comedy called Our Miss Fred, which I’ve never managed to get hold of since). Over the years, and especially during my teens—thanks to a local VHS lending library which stocked mostly war films—I watched a lot more of this genre. I’ve watched violent war films, adventurous war films, propaganda-heavy films, war films that crossed genres and combined war with everything from crime and mystery to comedy, to romance. I’ve watched war films that showed the futility of war.

War seems to be a favourite subject with many film makers.

But who stops to think of what happens when war is over? The Spanish film Bienvenido, Mr Marshall! did explore this idea in a humorous way, but from the point of view of people who were mostly non-combatants in the war itself. What happens, however, to men who have spent a few years in battle, men who have actually been in combat, and that too on the other side of the world from where they usually live? What happens when men come back to their everyday lives, their families and friends, to find that their world has moved on? And that they, too, have changed?

Fredric March as Al in The Best Years of Our Lives

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The Unsinkable Molly Brown (1964)

Happy New Year, Happy New Year, Happy New Year.

That’s what’s been flooding my timeline on Facebook, that’s what’s coming my way on text messages, in e-mails from family, friends, even banks and online stores. And yes, don’t we all wish for a happier 365 days ahead? Don’t we all wish that this year to come will be full of good health and joy and realized dreams for ourselves and those we love?

The last thing one wants in the first week of January is a reminder of death, especially that of someone we love. Even if that someone was not friend or family, or even acquaintance—someone we only knew through their work. Sadly, though, this has become an almost-given, come December: yet another film star I loved passes away. A year ago, it was the beautiful Sadhana; in 2013, Joan Fontaine, Peter O’Toole, and one of my absolute favourites, Eleanor Parker. Rod Taylor, Suchitra Sen, Nalini Jaywant, Dev Anand… all gone in December or January. And this year, Debbie Reynolds passed away, just the day after her daughter Carrie Fisher died.

Debbie Reynolds as Molly Brown

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A Christmas Carol (1938)

Merry Christmas!
It’s that time of the year again—and time for a tradition I’ve kept up on this blog ever since its inception. Time for a Christmas movie.

This time, wondering which film I should review, I came across this one, and it appealed to me at once, because I remembered Dickens’s classic story of an asocial and curmudgeonly miser whose life changes one Christmas. I had seen an animated version of A Christmas Carol ages ago on TV, I’d just read the novella that Dickens wrote to help tide him over during a hard spell when money was short. High time (and appropriate time) to watch the film.

A Christmas Carol begins on Christmas Eve in London. As crowds hustle and bustle through streets covered in snow, people rushing briskly about from one gaily decorated shop to another, a young man (Barry Mackay) goes sliding merrily down a little slope of snow. In the process, he makes friends with Tim Cratchitt ‘Tiny Tim’ (Terry Kilburn), who can’t indulge in such treats because he’s lame—and so Fred happily takes Tiny Tim on his shoulders and allows him a taste of the joy of sliding down a slope.

Fred gives Tiny Tim a ride

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Ten English-language films for lovers of Hindi cinema

Specifically, Hindi cinema of the 50s and 60s.

This post had its genesis in a post sometime back, in which blog reader and fellow blogger Rahul commented that he tended to not watch foreign films. I decided, then, to create a list of ten foreign films that might appeal to a lover of old Hindi cinema. Then, a couple of weeks down the line, when I reviewed The Woman in Question, Rahul reminded me of that promise, asking me when I’d be posting that list of English films. There had obviously been a misunderstanding somewhere; I had meant non-English films. But it gave me an idea; why not a list of English-language films too?

After all, it’s not as if the plots and themes of Hollywood and British cinema from the Golden Years were completely alien to Indian audiences. In fact, many of them would be familiar to watchers of Hindi films: a lot of films, all the way from Chori-Chori to Kati Patang, from Yahudi to Ek Ruka Hua Faislaa, from Half Ticket to Gumnaam, are based on Hollywood films, some of them to such an extent that they are not merely adaptations but outright copies. Add to that the fact that the Hays Code, which governed Hollywood between 1922 and 1945, had fairly Puritan ideas about what was permissible and what was not, and you have cinema that was relatively ‘clean’, at least as far as what was shown onscreen. You could safely watch these without fearing that you’d suddenly stumble upon nudity, profanity, or extreme violence.

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