Two Mules for Sister Sara

Genre: western
With: Shirley MacLaine, Clint Eastwood, John Kelly
Director: Don Siegel
Release: 1969
Studio: Malpaso Productions, Universal Pictures
Rating: PG
MBiS score: 7.6/10


QuickView


Story-line: during the occupation of Mexico by French forces (1864-1867), an American mercenary rescues a nun and agrees to escort her.
Pluses: fine performances from an engaging Shirley MacLaine and a tough Clint Eastwood, solid action, competent direction and some really funny moments.
Minuses: none, except for outbursts of violence.
Comments: a suspenseful and amusing ‘buddy movie’ coupling saint and sinner in circumstances where faith needs to be backed by dynamite. As for the mules… don’t ask.


MBiS

© 2011 – All rights reserved

Suddenly, Last Summer

Genre: psychological drama
Director: Joseph L. Mankiewicz
Release: 1959
Studio: Horizon Pictures – Columbia
Rating: -
MBiS score: 8.4/10


What’s On Your Mind, Catherine Holly?


When the new neurosurgeon at Lyons View asylum, Dr. Cukrowicz (Montgomery Clift), objects to his working conditions and threatens to go back to Chicago, the asylum director, Dr. Hockstader (Albert Dekker), pleads with him to stay on. Hockstader doesn’t deny that his institution lacks even the basics but he’s convinced that a local philanthropist, Mrs. Violet Venable (Katharine Hepburn), will provide it with much-needed cash. There is one possible hitch, however: Mrs. Venable wants Cukrowicz to perform a lobotomy on her disturbed niece, Catherine Holly (Elizabeth Taylor). With Mercedes McCambridge (Mrs. Grace Holly, Catherine’s mother), Gary Raymond (George Holly, Catherine’s brother) and Mavis Villiers (Miss Foxhill, Violet’s secretary).

Yes, this kooky film may be difficult to size up… but some background info will certainly help. SUDDENLY, LAST SUMMER is based on a play by Tennessee Williams and takes place circa 1938 in New Orleans (typical Williams country). It’s essentially a tragic tale sprinkled with symbolism, ferocious humour and grisly stories about plants, turtles and bugs. On screen, it translates into an interesting, wholly convincing and expertly rendered film that will satisfy all movie buffs.

In SUDDENLY, LAST SUMMER, you will find some features emblematic of the theatre, like a slow narrative buildup, a clear emphasis on psychology and conflict, truths uncovered piecemeal and precise, instructive dialogues. Moreover, you’ll meet vigorous characters representative of Williams’ world. Violet, a Southern aristocrat, reminded me of two other of the playwright’s creations, Amanda Wingfield (THE GLASS MENAGERIE) and Blanche DuBois (A STREETCAR NAMED DESIRE); the patently troubled Catherine may also recall Tom Wingfield, Amanda’s impatient and rebellious son. To support these two strong characters, Williams has imagined the suspicious-looking Holly family that witnesses the drama while Cukrowicz and Hockstader plan the operation. As for themes developed, you will again recognize Williams’ handiwork and logical, masterful storytelling… but I won’t go into details. Patience is a virtue and SUDDENLY, LAST SUMMER handsomely rewards the patient viewer.

Formally, Joseph L. Mankiewicz and crew have done justice to Williams’ play, delivering a motion picture poetic in its horror and awesome in its power. The film showcases two of the greatest actresses to have graced the screen, Katharine Hepburn and Elizabeth Taylor, in memorable, powerhouse roles. An inspired supporting cast does the rest, especially Montgomery Clift and Mercedes McCambridge whose stunningly funny turn contrasts with her rock-hard rendition of Sadie Burke in ALL THE KING’S MEN. Form and content lead to an unpredictable and potent climax that will stay with you long after the movie’s final frames have dissolved from the screen.

Luck may have nothing to do with it but, nevertheless, I hope you’re lucky enough to catch SUDDENLY, LAST SUMMER. As Violet would say ‘[…] what a blessing, Doctor, to be just peaceful. To be just suddenly peaceful. After all that horror. After those nightmares.’


MBiS

© 2011 – All rights reserved

Shallow Grave

Genre: crime thriller
With: Ewan McGregor, Kerry Fox, Christopher Eccleston
Director: Danny Boyle
Release: 1994
Studio: Figment Films, FilmFour et al. – Gramercy Pictures
Rating: R
MBiS score: 8.2/10


QuickView


Story-line: Juliet, David and Alex are faced with a lucrative problem when their new roommate dies unexpectedly.
Pluses: a brisk set-up, inspired acting, a quirky mood and good direction.
Minuses: none, except for a couple of ghastly scenes.
Comments: SHALLOW GRAVE, a fresh take on a well-worn premise, was a first for Ewan McGregor and Danny Boyle, who teamed up again one year later for TRAINSPOTTING, another far-out flick. This one’s for movie buffs who want lively, suspenseful and surreal entertainment!


MBiS

© 2011 – All rights reserved

Women in Love

Genre: psychological drama
Director: Ken Russell
Release: 1969
Studio: Brandywine Productions – United Artists
Rating: R
MBiS score: 8.2/10


What Is This Thing Called Love? (with many thanks to Cole Porter)


WOMEN IN LOVE is set in an English mining town during the 20s. The sisters Brangwen, Gudrun (Glenda Jackson) and Ursula (Jennie Linden), have reached that time in life when sentiments clamour or, more prosaically, a woman in their situation must resign herself to marriage. But whom should they wed? For her part, Ursula favours Rupert Birkin (Alan Bates), a philosophizing school inspector, while Gudrun is attracted to the fiery Gerald Crich (Oliver Reed). With Eleanor Bron (Hermione Roddice), Alan Webb (Thomas Crich, Gerald’s father), Catherine Willmer (Gerald’s mother), Sharon Gurney (Laura, his sister), Christopher Gable (Tibby Lupton) and Vladek Sheybal (Loerke).

To avoid any disappointment on your part, I should warn you not to expect a neat and tidy story from WOMEN IN LOVE, which is based on a D.H. Lawrence novel. Like a work in progress, this atypical and very startling film follows its four main characters over some time and doesn’t provide a definite denouement. Through Gudrun, Ursula and their mates (who, contrary to the film’s title, take up nearly as much space in the narrative), WOMEN IN LOVE’s odd screenplay examines several philosophies of love. But a film about love is not necessarily a smoochfest and, in this case, hate, misunderstanding, jealousy and cruelty spring up ever so often to mess up lives that hang by a thread. Characters discuss their feelings, complain about the duplicity around them and rail against the hardships of existence; love, it seems, won’t chase away for long their chronic, deeply rooted melancholy.

If you find such issues depressing, let me reassure you: WOMEN IN LOVE also contains eye-opening scenes of sheer bizarreness that you’d never imagine in a period film. Yes, this movie is both wrenching drama and squirmy fun. Anyway, it did teach me a few things about labour relations, graveyard etiquette, picnics and fireside sports. Seeing is believing!

Concretely, WOMEN IN LOVE is a quality motion picture. It boasts fine production values and a sturdy cast led by two intense thespians, Oliver Reed and Glenda Jackson (in her first of two Oscar-winning performances). Ken Russell’s direction is effective and sober − one tender scene between Rupert and Ursula struck me as simply ravishing − with artistic touches here and there that add symbolism to the narrative.

Is there something else I should tell you? Not really, I believe. When you feel ready for a lesson in love, even one delivered by imperfect and vacillating teachers, I do hope you’ll turn to Gudrun, Ursula, Rupert and Gerald. Ken Russell’s WOMEN IN LOVE is waiting for you.


MBiS

© 2011 – All rights reserved