Showing posts with label marital drama. Show all posts
Showing posts with label marital drama. Show all posts
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| Emma gets some action |
MADAME BOVARY (2 part BBC mini-series/2000). Director: Tim Fywell.
"Truly well-bred people don't give a fig about how their domestics behave. If I hadn't been told otherwise, I would swear you were middle-class!" -- Emma Bovary to her mother-in-law
Emma (Frances O'Connor) marries country doctor Charles Bovary (Hugh Bonneville) but discovers that life with him and his termagant mother (Eileen Atkins) is devoid of the romance, excitement and poetry that she finds in the many books she reads, and her dissatisfaction grows in leaps and bounds. She meets a soul mate named Leon (Hugh Dancy), then has a full-fledged affair with wealthy Rodolphe (Greg Wise). Meanwhile her debts mount as she is taken advantage of by slimy salesman Lheureux (Keith Barron). Although longer than the superior Hollywood film, this is a truncated version of the story with graphic softcore sex scenes. The main problem is that Emma is so distinctly unlikable in this that you can hardly summon up any sympathy for her: as played by O'Connor she comes off like a trampy, utterly thoughtless social climber and nothing more. This British television production is also on the cheap side like a studio-bound soap opera; the all-important ball sequence is almost laughably brief and comparative colorless. The actors in this are all good, but none of them give what could be called a great performance.
Verdict: Stick to the novel and the Hollywood version. **.
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| Emma (Jones) wants a more exciting life and husband (Heflin) |
"A man can change his life if he wants to ..."
Published in France in 1857, Gustave Flaubert's brilliant novel "Madame Bovary" was accused of being an "outrage against public morals" and the author put on trial (and acquitted). This film version of the book begins with James Mason as Flaubert in the courtroom, explaining his creation, and then proceeding to [unnecessarily] narrate the early sequences of the movie. Farm girl Emma (Jennifer Jones) meets and falls in love -- or so she thinks -- with a simple, unambitious country doctor named Bovary (Van Heflin). But her day to day life is tedious and lacks color, and she realizes she is living with the wrong man, kind but dull. Her need for passion and excitement is even more energized when the couple are invited to a ball at the home of the Marquis D'Andervilliers (Paul Cavanagh) and she sees how wealthy people live and realizes how many men find her attractive. Guilt-wracked and initially resistant, she is drawn into affairs with Rodolphe Boulanger (Louis Jourdan), who shatters her, and later a young lawyer named Leon (Christopher Kent, who later became the director, Alf Kjellin). Meanwhile her taste for the finer things in life means that her debts are adding up alarmingly, but it may be her husband who has to pay the piper. Emma isn't evil, but her dissatisfaction with her life with Bovary makes her susceptible to, shall we say, outside stimuli. Madame Bovary is pretty faithful to the novel, despite a couple of changes. In the book Dr. Bovary is pressured to operate on the clubfooted Hippolyte (Harry Morgan, herein known as Henry) with almost tragic results, while in the film he wisely realizes that he hasn't the skill of a surgeon, making him somewhat more sympathetic. The more licentious scenes of the novel, such as Emma and Leon driving all around town in a carriage obviously having sex in the back behind lowered blinds, have been jettisoned. Although Madame Bovary could have been better cast -- Heflin never comes off as that dull or unattractive and Jones isn't the perfect Emma, although Jourdan is fine -- the actors are still quite good, including those of the large supporting cast, which includes George Zucco as Leon's boss; Gladys Cooper as his mother; Ellen Corby as the maid, Felicite; Mason as Flaubert; and especially Frank Allenby as the slimy salesman, Lhereux. The film is well directed by Minelli and has a nice score by Miklos Rozsa. Kjellin/Kent later appeared in Ice Station Zebra and directed the telefilm Deadly Dream.
Verdict: Certainly not the masterpiece that the novel is, but on it's own terms vivid and entertaining, with Jones in very good form. ***.
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| Jeff Chandler gives one of his best performances |
Flashy Christine Carroll (Loretta Young) is given a package by her fiance, Mike (Alex Nicol), and suddenly finds herself arrested and in jail despite her truthful protestations of innocence. She trains to be a nurse in prison and winds up ministering to a handsome vet named Steve Kimberly (Jeff Chandler), with whom she falls in love and vice versa. Her parole officer (Helen Wallace) warns her that Steve must be informed of her prison record before they can marry, so an apprehensive Christine manages to get around this, and a child soon follows. Then Mike comes back into her life and everything starts unraveling ... Because of You is an entertaining soap opera that soon becomes a study of frustrated mother love, with good performances from Young (in a Joan Crawford-type role) and Chandler, who is at his best in this. Notable supporting players include Alexander Scourby as a doctor at the veteran's hospital; Frances Dee as Steve's lovely sister, Susan; Lynne Roberts as his friend, Rosemary; Gayle Reed as little Kim; and Arthur Space as a judge. Pevny also directed Chandler in Female on the Beach and Foxfire.
Verdict: Pleasant enough if unremarkable soaper with two solid lead performances. **1/2.
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| Barbara Stanwyck and Gene Reynolds |
Shelby Wyatt (Barbara Stanwyck) works for the wealthy "Nicko" Nicholas (Genevieve Tobin), riding her show horses, but her job comes to an end when she falls for Johnny (Gene Raymond of The Locket), who also works for Nicko, riding her polo ponies -- seems Nicko has a yen for Johnny herself. Soon the couple are out of work and struggling to survive as young marrieds. There are other complications, such as Shelby's snobbish in-laws and efforts by Nicko to get Johnny back. The cast helps keep the mediocre film reasonably entertaining, with Stanwyck as excellent as ever, and Tobin, Dorothy Tree [The Family Secret], Ann Shoemaker [House by the River], and especially John Eldredge (as another man in love with Shelby) offering up fine support. One big disappointment is that Shelby never gives Nicko the big whack she deserves.
Verdict: Another Stanwyck film in which she's much better than the material. **1/2.
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| Marital discord: Deborah Kerr and Spencer Tracy |
"The trouble with drink is it makes it just a little bit uncouth."
Arnold Boult (Spencer Tracy) is determined to make sure that his son, Edward [who is never seen] has the greatest life possible, and commits all manner of crimes to insure this, his ruthlessness even driving people to suicide. His wife Evelyn (Deborah Kerr) watches in horror, tries to interfere, and turns to drink, only inspiring more contempt from her husband. Boult has an affair with his secretary, Miss Perrin (Leueen MacGrath), but finds her as disposable as most of the people in his life, including his partner Harry (Mervyn Johns). This absorbing, adult portrait of a supreme narcissist and his spoiled son packs a wallop, due to an excellent script by Donald Ogden Stewart [Keeper of the Flame] and superb playing by Tracy [State of the Union] and Kerr [The End of the Affair]. MacGrath, Johns, Ian Hunter [Tower of London] as a doctor who is sympathetic to Evelyn, and Tilsa Page as Miss Foxley, are also excellent.
Verdict: Powerful marital drama. ***1/2.
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| Gross: The Fat Twins -- Zoe and Chloe Borden |
In this oddball theatrical film from Hallmark, Dr. John Waldron (Richard Denning) is put out because his wife, Ruth (Julie Bishop of Lady Gangster) won't, well, put out. He thinks she puts too much effort into her housekeeping and not enough into keeping herself lovely and satisfying his needs. [In one scene it is very obvious that John is hoping for and expecting some bedroom action until Ruth puts curlers in her hair and smears cold cream on her face.] The couple have a little daughter, Ginger (Ginger Prince), who is sent out to Hollywood for a screen test along with other youngsters, such as the Fat Twins. [Not only are these gals corpulent and plain, they have absolutely no talent and should not be seen on an empty stomach -- or a full one! Four years later, blond but still disgusting, they appeared on one of the least memorable I Love Lucy episodes with Tennessee Ernie Ford]. Then the movie turns into an ad for Ern Westmore of the famous make-up family, who demonstrates beauty tricks on different ladies as his wife, Betty (actually actress Virginia Merrick) stands by and urges him to lose weight. [Betty Westmore was a sometime actress herself, but for some reason doesn't play herself in this movie.] Meanwhile Ruth mistakenly believes that John is carrying on with his sexy nurse, Kay (Myrna Dell), who is in love with him, while she's in Hollywood with Ginger and the Westmores. (At one point John actually spies on Kay as she's changing her clothing -- talk about unprofessional, even sleazy, behavior!) Should this couple divorce, or will tubby Ern Westmore pull some tricks out of his hat and turn Ruth once again into a ravishing beauty? The movie stops dead now and then while Ern and other "experts" deliver lectures. Poor Albert Glasser [Monster from Green Hell] wrote the score for this. Erle C. Kenton also directed many Universal horror flicks, a few Abbott and Costello comedies, and Search for Beauty in 1934. It's unlikely he ever made a worse movie than this, however.
Verdict: Why people leave the theater. Atrocious! *.
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| Harry Hamlin and Michael Ontkean |
A successful oncologist, Zach (Micheal Ontkean) seems to be happily married to his wife and best friend, Claire (Kate Jackson) -- they both love Gilbert and Sullivan, and poet Rupert Brooke -- but all of his life he's been fighting his attraction to men. He is less interested in having a very active sex life as he is in having a romantic, lifetime relationship with another man, and falls (rather quickly) for a foot-loose writer named Bart (Harry Hamlin of Clash of the Titans), who is much more comfortable with his sexuality. As Zach's marriage to Claire approaches its end, will Bart turn out to be the man that Zach's been hoping to find? Making Love, released by Twentieth Century-Fox, was the first major Hollywood film on homosexuality, and was heavily promoted as well. [That Certain Summer tackled the subject on television ten years earlier.] Although it could be argued that they give telefilm-type performances, the three leads are all good, and the film is interesting, with a moving conclusion. The casting of Kate Jackson as the very likable Claire was a smart move. Hamlin at times tries too hard to play it "gay" but Ontkean is fine, although the important sequences when he finally comes out to Claire are a bit awkward in both scripting and performance. Whatever its flaws, Making Love is to be commended for being one of the first films in which gay characters were neither maniacs nor corpses. Wendy Hiller [The Cat and the Canary] plays Winnie, an elderly friend of Zach and Claire's. A particularly charming scene has Zach and Claire entering a singing contest and being really bad just to spare a friendly young lady who was booed from getting the booby prize. Lovely score by Leonard Rosenman.
Verdict: Intelligent if imperfect gay love story -- of sorts. ***.
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| Lansbury, Fonda and Finch amidst scenic Grecian splendor |
"Murray and I already call each other by our first names. It happens fast in America." -- Christine
"I hear everything does." -- Sybil
Murray Logan (Peter Finch) is married to a bitter woman, Sybil (Angela Lansbury), who was scarred in the car accident in which their son was killed. Murray becomes friendly with Christine (Jane Fonda), the wife of his old friend Sam Bonner (Steven Hill); both men are in the publishing business. Sam treats Christine, who has major medical problems, as if she were a fragile child, and this is threatening their marriage. Christine gets the idea that the two couples should go off to Greece and have a great vacation. Surprisingly, Sybil agrees, but at the last minute Sam can't make it. Will the attraction that Murray and Christine feel for each other move up a notch when they're in Greece? What do you think? In the Cool of the Day could be dismissed -- and probably was -- as a soap opera or travelogue or both, but it's actually not a bad movie, in large part due to the interesting characters and the performances of the ladies; Fonda is simply outstanding and Lansbury, although she has a less sympathetic role, is also excellent. Finch was a fine actor but he doesn't have that much chemistry with Fonda (luckily she makes up for this) and at times seems completely disinterested in the proceedings. Constance Cummings is Christine's mother and Alexander Knox plays Sam's father, Frederick. If you don't care for the story you can always enjoy Peter Newbrook's photography of Athens and Delphi, as well as Francis Chagrin's flavorful musical score. It's hard for movies like this, based on novels where the author can describe the internal feelings of the characters, to work, but this is quite effective at times.
Verdict: Very interesting picture with a wonderful lead performance from Fonda. ***.
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| Zachary Scott and Ann Sheridan |
While her husband is out of town, Chris Hunter (Ann Sheridan) returns from a party and is attacked in her home, ultimately killing her assailant. Chris tells her husband, Bob (Zachary Scott), as well as the police, that she never met the man, a sculptor named Tanner. But if that's the case, why did Tanner do a bust of a woman who looks exactly like Chris Hunter, and why are some people offering it to her husband for sale ..? This is an excellent Americanized variation on, and post-WW2 updating of, The Letter, but it takes awhile for the viewer to realize it as it has so many interesting elements of its own. Sheridan [Nora Prentiss] gives one of her best performances, and has an especially good moment when she has a heart to heart talk with her husband about things she did when he was overseas and why she did them. Zachary Scott [Ruthless] is also excellent, as is Lew Ayres [Damian: Omen 2] as the friend and lawyer who comes to the couple's assistance. Eve Arden certainly scores in the somewhat edgier-than-usual role of Bob's cousin, Paula, and the dialogue [by David Goodis and James Gunn] as she tries to explain Chris' wartime actions to Bob is trenchant and memorable. Marta Mitrovich is quietly effective as the angry widow, Mrs. Tanner; Steven Geray suitably oily as a kind of blackmailer and art dealer; Jerome Cowan appropriately wily as a prosecutor; and John Hoyt ever-grim as a suspicious police detective. This is probably director Vincent Sherman's [The Damned Don't Cry] finest hour and a half. A first-rate score by Max Steiner and fine Ernest Haller photography complete the ensemble.
Verdict: A snappy, sophisticated picture that on its own terms is nearly as good as the original ***1/2.
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| Ray Milland and Joan Fontaine |
Alan Miller (Ray Milland) is a recovering alcoholic with a wife, Edna (Teresa Wright), and son. An elevator boy (Harry Bellaver) he knows calls him in to council a drunken hotel guest whom Alan assumes is male, but turns out to be a woman; Alan nevertheless decides to speak to her. Jenny (Joan Fontaine) is an actress who is letting alcohol strip her of her career and her dignity. Almost against their own wishes the two discover a mutual attraction, but there is the problem of Alan's marriage -- and his torment over his conflicted feelings ... Some contemporary critics saw Something to Live For as pure schmaltz, but for the more romantic-minded, it's an interesting picture with very good [if not necessarily great] performances from the leads. Teresa Wright with her expressive face offers a sensitive portrait of the wife who knows more than Alan realizes, and there's nice work from Richard Derr [When Worlds Collide] as an obnoxious, self-centered director with whom Jenny was once involved. Paul Valentine and Douglas Dick are also in the cast in smaller roles. One could argue about which classical composer influenced Victor Young the most, but his lovely score for the film is a decided asset. The ending may seem a little abrupt and simplistic, but it works beautifully. Stevens also directed Giant and many, many other notable films.
Verdict: While this is certainly not on the level of Brief Encounter, which it resembles in some ways, it is a worthwhile romantic picture. ***.
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| Mary Astor and Kenneth MacKenna |
"It isn't wise to love anything so much that to lose it almost kills you."
Struggling novelist Freddie Williston (Kenneth MacKenna) meets May (Mary Astor) in the crowd during the Armistice Day celebration, and discovers that she's just bought a copy of his book. Before long they are married and a child is on the way, along with a string of bestsellers. Had Those We Love looked at the life of an unsuccessful or fair-to-middling author it might have had more dramatic heft, but once Freddie becomes a rich and famous author, the only complication that can be thrown into the couple's lives comes in the form of Valerie (Lilyan Tashman), a married vamp who has set her cap for Freddie. May jumps to conclusions about Val's relationship with her husband, and inadvertently makes matters worse. Will this family survive this crisis, and will Valerie go on her merry way? Those We Love manages to be entertaining because of the cast. Mary Astor is as wonderful as ever, while MacKenna has charm to spare. Tommy Conlon [The Sign of the Cross] is swell as their son, Ricky, who might be as wise as both of his parents. Virginia Sale [Lovin' the Ladies] scores as the maid Bertha, as does Tashman [One Heavenly Night] as the lynx-like (if not terribly beautiful) man-stealer, Valerie. From the first Freddie seems more interested in making money than in crafting lasting literature, so one can imagine his books are as superficial as he is. Those We Love misses virtually every opportunity to say anything about the writing life, the publishing business, or the creative process, and was adapted from a Broadway play. Florey directed The Beast with Five Fingers and many, many others.
Verdict: Fairly creaky, but the acting puts it over. **1/2.