Radio review - Ford Theatre - "Carmen Jones" (1948) ***

The famous Hammerstein version of the Bizet opera - his book isn't much, full of Lawdy-Lawdy characters but the tunes remain good. The action has been changed to WW2 America among African Americans - presumably thought to be hot blooded like a Spanish. This is done with the original Broadway cast members so fans of the show will want to check this out (Howard Teichmann condensed the script)but it left me a little cold.

Movie review - "Storm Over the Nile" (1955) ***

You wonder why the Kordas bothered making it, especially since they used the same script as the 1939 film, which was shot in colour, as well as much new footage. Was it a desire to employ some actors? Make some easy money? It must have been to do it in Cinemascope.

It still works - it's a good story of high adventure with a background in cowardice (although that isn't really explored apart from the opening sequence of little Harry Faversham being scared). Anthony Steel steps in for John Clements and does about as little with the role as Clements did, but he's handsome and dashing and not that irritating (he's a bit more expressive than Clements). Laurence Harvey replaces Ralph Richardson as the soldier who goes blind in the desert, the part that gets the bulk of the sympathy (giving up the woman he loves when he realises that Harry is still alive and a hero) - he's not as good an actor but he does try. And the part doesn't require that much acting - mostly being blind, and noble about love.

Mary Ure is pretty enough but bland, James Robertson Justice is an excellent substitute for C Aubrey Smith, Geoffrey Keen offers good support, and there's some familiar names in the support cast: Ronald Lewis and Ian Carmichael as the other two friends (neither of whom have a character really) and Christopher Lee as an Arab.

Movie review - "Tinker Tailor Soldier Spy" (2011) ***1/2

I don't recall enjoying a film's art direction more in recent years: smoky back rooms, whisky decanters, rain sodden fields, dingy cafes, creaky old kitchens, shabby uniforms, old filing cabinets. It brings the world of Le Carre to life in many ways more than the script, which is more confusing than it needs to be - I know this wasn't the easiest story in the world to adapt, but surely they could have gotten more tension out of the final sequence, which is confusing rather than scary. Why not see Smiley's wife? Why not make it clearer Smiley was sacked over the Budapest fiasco?

Gary Oldman isn't that great as Smiley - he looks fantastic, but lacks the pain, the sense of history and loss. But the others around him are terrific - Colin Frith, Toby Jones, Kathy Burke (who makes me long for a sequel), Tom Hardy (adding some needed physical energy), Ciarin Hinds, Mark Strong, etc. 

 

I liked the bit with Mark Strong mentoring a fat kid and encouraging him to join the world, and the Russian woman calmly reading the paper while Strong is being tortured, etc. Lots of lovely touches like that and it's a good movie you just wish it was amazing.

Movie review - "Saturday Night and Sunday Morning" (1960) ***1/2

Kitchen sink melodrama which has aged very well, partly because of the crispness of Tony Richardson's handling, partly due to the fact it doesn't get overly moralistic, but mostly because of Alan Finney's charismatic lead performance. He's angry, handsome, boozy, funny, smart, lazy - it's not hard to see why he caused so much excitement.

The film wouldn't work without a compelling lead performer: a bloke who doesn't work as hard as he could at his (admittedly mind-numbing) job; has an affair with a married lady (Rachel Roberts); spends all his money on alcohol and the odd movie. 

 

He does have good qualities: he is affectionate to his mistress; takes his beating like a man; and most of all has spirit. You can see why Shirley Ann Field, who is lovely, is attracted to him - he's got more life in him than anyone else around. It's going to cause her a lot of drama down the track, though.

(You can't help wonder what happened to Finney and her: a couple of kids, infidelities, lots of drinking and watching TV/sport, the eventual loss of his job due to modernisation/market inefficiencies. I like to think they emigrated to Australia or Canada. At least young men in Finney's time had the chance of a job - now in many places they don't.)

Movie review - "Guns at Batasi" (1964) ***

Fascinating action-drama set during the last days of British rule of an unnamed African country. The changeover seems peaceful until the British-appointed government is overthrown in a coup, leaving Brits unsure what to do - especially the sergeant's mess who are cut off, complete with a visiting left wing, naive MP (chain smoking Flora Robson), a cute, horny UN worker (beautiful young Mia Farrow in her first role after Britt Ekland pulled out because of husband Peter Sellers) and an injured African captain who was meant to take over but has been ruled a traitor.

Richard Attenborough plays the martinet RSM in charge, who ultimately defies the mutinous Africans. He is initially depicted as a figure of fun, obsessed with regulations and the army, but when the pressure is on is the only one who really seems to know what to do. Attenborough's performance has been much praised and it is definitely striking - I felt he was over acting at times, but would like to hear from any British army veterans before making that call.

A subject like this is a political minefield, with it's hot topic subjects of imperialism, militarism, race, emerging democracies, etc. You continually look at "what is this film supporting?" Well it is sympathetic to Attenborough, a brave man in a hard position - but he is also a bit of an idiot who is clearly keen for action, perhaps overly so; it mocks the chain smoking naive Robson with her belief that Africans are picked on (and her looks are teased), but she's not dumb and has a reasonable point of view; it is harsh on the rebellious African officer (Earl Cameron) - yet he is allowed to state his case.

On more conventional matters the film works well: it's tense and exciting as most siege stories are, moves at a smooth clip; the story isn't predictable; the acting is fine; John Guillermin's direction tight and skilful. You probably didn't need the Farrow subplot (she has sex with a private, John Leyton), but it does add a dash of youthful glamour. The cast includes John Meillon as an Australian sergeant (called "Aussie") and a pre-throat operation Jack Hawkins.

Movie review - "Source Code" (2011) **** (warning: spoilers)

It's a relief to see a Hollywood movie that is original, smart and full of plot twists, kind of like Groundhog Day meets 24. The science probably doesn't make any sense (I'm not strong on science) but it was believable enough for me - and there was emotion, too: Jake Gyllenhaal wanting to say goodbye to his father, his romance with Michelle Monaghan, his friendship with fellow soldier Vera Famiga. The little you know about it the more you're more likely to enjoy it, as you try to figure out what's going on along with Gyllenhall. Full of great shocks, like seeing Gyllenhaal's half destroyed body. The movie did feel as though it went to it's natural end when he kisses Monaghan and everyone is laughing (a lovely ending) - but then it kicks on into a parallel universe where Gyllenhaal takes over this other guys body permanently which leads to a whole new bunch of questions (e.g. does he remember his past? how is he going to get along with his host body's new family?). And now I'm starting to pick why would a terrorist blow up a train, then a city? Why not just the city? Okay, I'll stop now. I really enjoyed it.

Radio review - Lux - "The Story of Alexander Graham Bell" (1945) ***1/2

The victory in Europe was celebrated by Lux with a recreation of the famous biopic. Don Ameche reprises his best known role (from his 30s heyday anyway) as the inventor of the telephone. In the chat at the end Ameche admits to being a little sick of people constantly kidding about inventing the phone (guest host Mitchell Leisen points out that the army called phones "Ameches"). He is very engaging as the young inventor constantly pushing the technological envelope with June Duprez stepping in as his deaf wife. Some charming visual bits I remembered form the film inevitably don't make it but it's done with a lot of intelligence and charm. Ameche talks at the end as being about the star in a film where he played the inventor of the silencer.