1950s, 3/4, Best Picture Winner, Musical, Review, Vincente Minnelli


I feel like I'm seeing Lubitsch everywhere now, but it's hard to deny the connections between Lubitsch and Gigi. It's set in Europe, pre-WWI (specifically France's Belle Epoque), with wealthy people and a certain visual materialism, a class divide, the battle of the sexes, and Maurice Chevalier. It's the Chevalier presence that makes it unmistakable… Continue reading Gigi

1950s, 4/4, Best Picture Winner, David Lean, Drama, Review, War

The Bridge on the River Kwai: A Second Look

I'm still in amazement at how well The Bridge on the River Kwai comes together in the end. David Lean had been working up his way through the British film industry through a series of smaller films, and he entered the epic game with a serious bang. Taking Pierre Boulle's novel and pushing it into… Continue reading The Bridge on the River Kwai: A Second Look

1950s, 3.5/4, Best Picture Winner, Delbert Mann, Drama, Review

Marty: A Second Look

The Academy goes from awarding a pseudo-independent film (On the Waterfront was financed by Columbia) to an actual independent film in Marty, a film based on a teleplay by the screenwriter by Paddy Chayefsky and directed by Delbert Mann, financed by the small production company started by Burt Lancaster and his agent Harold Hecht, while… Continue reading Marty: A Second Look

1950s, 4/4, Best Picture Winner, Elia Kazan, Review

On the Waterfront: A Second Look

It's interesting to watch this after my negative reaction to Gentleman's Agreement. I had large problems with Elia Kazan's earlier film, mostly about how the different pieces never connected dramatically. And then I revisit On the Waterfront, and it's damn near perfect. It makes me wonder if Kazan was one of those filmmakers who didn't… Continue reading On the Waterfront: A Second Look