A film noir with some eccentricities, The Big Steal (1949), directed by then third time film maker Don Siegel (who would go on to make such greats as Invasion of the Body Snatchers, Dirty Harry, and Escape from Alcatraz), plays like a long chase within a longer chase, while the meeting between gent and femme is something akin to a will they/won’t they screwball comedy. The usually laconic Lt. Duke Halliday (Robert Mitchum) is in quite the conundrum, as he has been robbed of a U.S. Army payroll totaling a whopping three hundred grand by swindler Jim Fiske (Patric Knowles). On the lam in Mexico (a rather rare noir location, also think Ride the Pink Horse and Touch of Evil), Halliday is on his trail... but the problem is, so is his superior – Captain Vincent Blake (William Bendix), who, of course, thinks it was actually the Lieutenant who ran off with the money.
Abe Vigoda passed away today at the age of 94. Vigoda enjoyed a long career in the film and television world, with standout roles in The Godfather Part 1 and Part 2 as well as in the comedy series Barney Miller. Though, perhaps more recently he is best remembered for his short but vital part in the hilarious Superbowl Snickers commercial featuring Betty White. In honor of Vigoda, The Godfather Part II will be reviewed here today.
There is something that has always drawn me to movies that are set on trains. This unique setting boasts many themes that a screenwriter and director can play with. Not only does it lend itself to a claustrophobic place for a mystery thriller, but it also may symbolize the old world, romance or an epic journey. There is also the thinly veiled partition that separates class divisions (travel through a door and you may have plain economy style or lavish burled walnut compartments with sleek curtains where the richest of the rich relax).
It is usually quite easy to spot a film that is based on a stage play, as the movie is generally set in one, never-changing location. Alfred Hitchcock’s Rope and Gene Saks’ The Odd Couple are just two examples of iconic films that originally came from the stage, and the same can be said for the movie being reviewed here today – the 1944 Frank Capra black comedy Arsenic and Old Lace.
I spoke to character actor Ron Perlman recently about his favourite films. The veteran performer, who has been in motion pictures and television for more than thirty-five years, shot to fame in the late eighties with the show Beauty and the Beast. He has not stopped since, taking on numerous memorable roles in series such as Sons of Anarchy and Hand of God as well as in films like Hellboy, Drive and Pacific Rim, to name but a few. He has worked with horror maestro Guillermo del Toro an impressive six times – calling the director an absolute genius.
It is not hard to argue that the classic 1972 crime film The Godfather is the biggest movie to come out of that decade and transcend the generations (that is, if we do not count its 1974 sequel – which is of equal popularity and importance).
In 1950, just prior to being blacklisted, director Jules Dassin was sent to make a film in London, England – being warned by producer Darryl F. Zanuck that it would most likely be the last movie he would make. What came of this venture was the classic film-noir Night and the City.