I only just received The Gold Rush. This film was reedited and rereleased by Chaplin in 1943 with a new muscial score and narration by Chaplin. Unfortunately, I didn't know this. It appears the disk I received has the 1943 version, rather than the 1925, so, I'm left trying to evaluate the film as if I'd seen it without the sound.

Charlie Chaplin was responsible for the narration, and I can't fault his motives for trying to take advantage of sound. But, in my opinion, it doesn't work. The dialogue is rushed, and detracted from my imagination of how things were being said. It's hard to tell, but I think I like this the least of his films I've seen (Hard Times and City Lights). It does include the famous dancing dinner rolls scene (lovely and funny), some amazing walking against the wind, and astonishing sets with great forced perspective. There is also the bittersweet love story with well-handled displays of casual human cruelty. (There's also some surprising violence.)

Worth seeing, but try to watch the 1925 version.

New Year's Eve dinner is prepared, but the ladies have not appeared as promised.


"Should auld acquaintance be forgot..."


That's Chaplin leaping out of the falling cabin. How this was done so realistically, I don't know.

Okay, first I'm just going to say it. It's almost impossible for a movie to both be great and filmed in color. Orson Welles once said that all great performances were in black and white. The same may go for movies. I'm finding it more and more rare that a movie needs color; color becomes distracting. Some exceptions I can think of are slasher horror movies (gore is best in color), musicals (maybe. I'm thinking specifically of Moulin Rouge), and...what else? Anyone want to make a case for either specific genres or films where, without color, the meaning of the film is lost?

The problem with The Grapes of Wrath (1940) is that, if I wanted to provide a screen capture of every great shot in the film, I'd have to show you the entire movie. If you've ever wondered what folks from Oklahoma were like during this time period, watch the movie. I was born in Oklahoma, and remember visiting the farm when I was little (and not-so-little). The one actor who doesn't really sound like an Okie is Henry Fonda, but I'll forgive him because his performance is otherwise flawless.

I've mentioned actor John Carradine before, specifically for his role in Stagecoach. Here, he plays a preacher who has "lost the spirit". He'd been on screen about fifteen minutes before I recognized him. Most striking was that he hadn't yet developed the distinctive voice that is, only a year later, so easy to identify.

I nearly cried my eyes out over the awesome performance from Jane Darwell.

This movie makes me proud to be an Okie.

John Carradine


This is what Oklahoma looks like. There's simply more sky there. I'm not sure if this was filmed on location (probably it was). The movie is filled with these great John Ford long shots.


Henry Fonda.


Jane Darwell.


Henry Fonda. "I'll be there."

To make up for the dearth of pictures in my last film posting, I'm including lots more in this one.

I liked Rebel Without a Cause (1955), mostly because of the performances and the interesting score by the still-living Leonard Rosenman, whose other credits include his terrible score for the Ralph Bakshi animated Lord of the Rings, and almost as bad score for Star Trek IV: The Voyage Home. So, I'm glad there's something of his that I can say I enjoyed.

Like West Side Story, it's hard to believe these young adults are really teenagers, but the staging of their behaviors is excellent. I recall pretty well how predatory the bullies and their micro-gangs were in high grade school, and the film captures this well.

The movie deals in tragedy, and I was sad to read of life mirroring art. All three "teen" stars died young. The electric James Dean in 1955, age 24. The lovely and exciting Natalie Wood in 1981, age 43. And, the compelling Sal Mineo in 1976, age 37.

I'd especially like to praise a standout performance by Jim Backus. For me, who associates him with Mr. Howell on Gilligan's Island, and as the voice of Mr. Magoo, this is a revelation. He's clearly comfortable in comedy, but just as at ease with drama and inner conflict.

Natalie Wood and James Dean


James Dean and Sal Mineo


Great character actor Ian Wolfe, and Dick Wessel


Who's that blue-eyed fellow on the left? It's Dennis Hopper! With (I think) Frank Mazzola and Jack Grinnage


James Dean. Sadly, this photo doesn't capture the essence of this scene, where he must win the confidence of Sal Mineo.


James Dean. Heartbreaking.


For my money, the best scene in the picture. Thank you Jim Backus.

For such an important film, this will be a short set of comments. And, my apologies, no video captures. I accidentally returned the film without finding shots and scenes I liked.

So, I have a general reaction to A Place in the Sun, A Streetcar Named Desire (1951), and my next film, Rebel Without a Cause. They all try too hard to be social commentary, with "Sun" trying the least hard and succeeding the best as a film. I find this period of film more melodramatic, even though the acting strives to be more natural and honest. I don't fault the actors, but instead the writers (and directors. Always blame the director*).

I like Streetcar, and I recognize that there were several change from the play. I need to read the play in order to understand Stanley's motivations toward the end of the film. Maybe Tennesee Williams doesn't provide enough of answer to "why would he do that?", but I'm not willing to criticize one of the stage's finest playwrights without some solid research. Instead, let's run through the cast.

Marlon Brando
Brilliant acting. Dare I admit, though, that I giggled just a little bit when he first spoke. That lispy, reedy voice at first seemed silly. But not for long. What's compelling about his performance is the tremendous detail. Great jazz musicians only seem to be loosely improvizing; they earn that apparent ease through rigorous technique and practice. Brando's acting strikes me the same way.

Vivien Leigh
Holy cow, I mean, what is there to say? She starts out a little daffy and eerie, and ends up completely daffy and eerie. I think that's the most impressive part, is how she paces her craziness. Also, high marks to the makeup and lighting personnel. Leigh's character is obsessed with her youth. At the beginning of the film she appears the age she wants (us) to believe she is. By the middle and end, we see her as she is. Very difficult, when the inner/outer age difference is only about ten years.

Kim Hunter
My favorite. She has the demanding job of not being as extreme as either Brando or Leigh. Yet she has to match Brando's power and sexuality (and hoo boy does she), and also reveal an undercurrent of her sister's loopiness. Brava.

Karl Malden
I'm familiar with Mr. Malden as the tough guy, later in his career. In this film, he shows a great ability to be sincere, almost meek, and yet not a pushover. Like all the other characters, I didn't like him very much by the end. But I did like him the most.

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* This is a little dig at my dad, who is a stage director for opera and musical theater. I feel safe since I think he'd agree with me. Except maybe, in film, he'd say "Well, either the director or the producers. Those producers are always getting in the way. Or the studio."

Actor Glenn Ford died yesterday. I won't claim to have seen a large number of his films, but I have said for years that he performed one of the best dying scenes in cinema. It occurs in Superman: The Movie, in which he played Jonathan Kent (Superman's human foster father). I won't attempt to describe what, on paper, is a simple moment. I'll just say that he captured a lifetime's complexity in a few seconds.