#335- High Noon

Quick recap: A bad guy is on the noon train to get revenge on a marshal who sent him up north to be hung. The marshal, against almost all advice, chooses to fight him and his gang rather than running away.

I’d gladly watch two hours of Lloyd Bridges smirking

Fun (?) fact: considering a book has been written about the filming of High Noon, there is a ton of trivia to choose from. I’ll go with the most salacious though because I don’t do that enough- Gary Cooper and Grace Kelly carried on an affair throughout the duration of filming. Is this what it feels like to be Perez Hltion? Is Perez Hilton even a thing anymore?

I will not mention Gary Cooper’s age. I will not mention Gary Cooper’s age. I will not-

My thoughts: Right before starting High Noon, I realized I’m just about burned out on the Western genre. I started out with dread and that quickly turned into head over heels love. There are a few stinkers, to be sure, but it’s been a good run so far. Thankfully, this film is one of the better ones on the list and knowing that John Wayne despised it until the day he died is the cherry on top. Maybe I’m not done yet. Westerns, I wish I could quit you.

One of the most unique aspects of High Noon is that it is almost entirely shot in ‘real time’, as Marshal Kane waits for the noon train. The anticipation is palatable, not just because I wanted to see who would arrive but also because it’s a race against the clock. Had this been a montage, I don’t think I would’ve been as empathetic to Kane as he tried to drum up support as well as attempted to keep his bride from leaving him. Whoever wrote this 1001 movies list must be a sucker for the technique like I am because there are several movies that play out like this one did. Two that come to mind are Cleo from 5 to 7 and Run Lola Run.

As a whole, High Noon isn’t better or worse than other Westerns I have watched lately. I was a little ‘meh’ when it was over, and then I learned that the whole movie is an allegory for the Red scare. Shortly after High Noon was released, screenwriter Carl Foreman was blacklisted from Hollywood, due to alleged communist ties. In this light, the film takes on a much more important role to me. At the time, most people were terrified of these meetings and knew that they didn’t have much choice with what might happen. Most actors and directors chose to distance themselves from anything that might label them ‘unpatriotic’ but there were a few that stood up to McCarthy and ultimately, it finally faded away. Marshal Kane knew that he could run and hide and probably go on to live a normal life, but that would be wrong. It’s so satisfying to see one person fight for what is right, whether it is a showdown in the Wild West or a bunch of teens in high school. High Noon is the happy ending we all need.

Final review: 5/5

Up next: A Philadelphia Story

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#322- Vertigo

Quick recap: reasonable behavior- developing a fear of heights after seeing a guy fall off a roof. Unreasonable behavior- falling madly in love with the woman you are supposed to be following because her husband thinks she’s crazy. Even more unreasonable behavior- causing more people to jump to their deaths from a roof.

Another reference I now understand!

Fun (?) fact: Vertigo bombed at the box office and Alfred Hitchcock put the sole blame on James Stewart for being too old, despite having collaborated with him several times. They never worked together again 😦

All hail James Stewart!

My thoughts: This is either my 7th or 8th Hitchcock film and they just keep getting better. Hitchcock is best when he goes dark-whether it’s the macabre dialogue in Strangers on a Train or the serial killer plot of Frenzy. Vertigo is no exception. This was my first time watching it and about the only thing I knew was the fear of heights. There’s a twist at the end that I didn’t see coming and when everything is revealed at the end of the film, I audibly gasped. It’s so rare these days to not be spoiled.

Vertigo’s strong points are its visuals, a very Hitckcockian thing to focus on anyway. Every scene looked like danger was just around the corner and it kept me on my toes to figure out what was going to happen next. The shots of John Ferguson freaking out while climbing stairs are iconic but I gravitated more towards the little scenes, such as John watching Madeline at the art gallery or him watching her drive off in her car. It was a wonderfully creepy feeling to not know whom to be more concerned about.

Knowing what I know about Hitchcock, it’s really not much of a surprise how he chose to portray the women in the film. There’s Midge, possibly still in love with John, and jumping at every chance she can to be near him. And then there’s Madeline, who thinks she is the reincarnation of Carlotta Valdes, a woman who died a hundred years ago. Neither woman gives off a strong independent vibe and it’s a little frustrating to watch a whole movie about women fighting over men and needing them to survive. On the other hand, it makes for a compelling movie where you don’t really root for anyone.

always a Midge, never a Madeline

Final review: 5/5

Up next: Sunset boulevard

 

 

 

 

#320- Don’t Look Now

Quick recap: After losing his daughter in a drowning accident, John starts to have visions which may or may not be trying to warn him of danger.

A big fat nope that scene was

Fun (?) fact: Julie Christie ( who plays Laura) and Donald Sutherland ( who plays John), had never met before shooting the film and the first scene they did was the infamous sex scene.

Look it up yourself if you are dying to see this man naked

My thoughts: Although my primary goal in Horrorfest is to work my way through the list, my secondary goal is find something terrifying. Save for some recent horror films ( shout out to It for still giving me nightmares in my 3os), I haven’t found much in this book that really got to me. Don’t Look Now was supposed to be that film. Real life situations scare me (versus monster movies) but those involving dead children go straight to the top of my list.

I want to go ahead and mention that there is a twist of sorts at some point in the movie and though the film is over 40 years old, I don’t want to spoil it for anyone who might want to watch it. I knew what was going to happen thanks to gifs I’ve seen and I think that took away from the horror a bit. There were still a few creepy scenes though, that got me going. I posted one above that occurred within the first 10 minutes of the film and I thought was a great way to portray the death. There are several parts of the film that are like this: utterly creepy without overdoing it. Many refer to Don’t Look Now as ‘gothic horror’ and I tend to agree with the label. There aren’t any things that jump out or do anything horrifying. It’s more of a sense of dread throughout the movie and a reticence to find what might happen next.

Overall, though, this movie just didn’t do much for me. Maybe it was the slow moving plot, the droning on and on about the same things, the weird sex scene, or maybe it was just that I couldn’t keep this gif of Donald Sutherland out of my head:

Whatever it is that did it, I’m disappointed. After doing some research I have a better appreciation for what the film did and I especially love all the symbolism. The fact that so many well known people love this movie also speaks to its greatness, but it just wasn’t my cup of tea.

Final review: 2/5

Up next: one more movie left in Horrorfest!

#308- Pickup on South Street

Quick recap: A pickpocket unknowingly intercepts some microfilm that was about to be given to the Communists. Now he must decide whether he is going to stay a two-bit felon or move on up to full traitor status.

it’s a film-noir so expect plenty of sass from this dame

Fun (?) fact: In the French and German versions of the film, the dialog is changed completely and turns into a story about drug dealing.

My thoughts:Apparently, pickpocketing was one of the worst crimes one could commit in New York City in the early 50s. Skip McCoy, the thief with the heart of gold (or something) had already been convicted of stealing 3 times before and one more time would send him to the chair. When my mom’s wallet was stolen in Chicago a few weeks ago, we dutifully reported it even though we knew that sucker was long gone.

Pickup on South Street was a wild ride but overall a weak addition to the film-noir genre. There were several thrilling scenes and violence galore but a spying ring just felt like a letdown. The Communists were bad news but by the end this felt more like a propaganda film for the Red scare than a true film-noir. Part of my issue is that I never really bought into Skip McCoy as a hero. Not only was he a pickpocket but he was violent towards the girl he stole from and then made out with her too, which was I guess a thing back then. Candy, the love interest, had her own issues and I found myself internally screaming on her behalf for continuing to choose such bad guys to fall in love with. In the end, Skip and Candy end up together and we are made to believe this is a good thing but realistically we know there is no good way this relationship will go.

My favorite part of the film and the reason I liked the movie so much was because of Moe, the stool pigeon. I really wish they had cut out all of the Commie BS and mystery and focused on this woman. Moe spent her life selling ties as a front and keeping tabs on all the crooks and criminals. When the police needed help, they called her in and she set a price to give info. I loved the symbiotic relationship she had with the crooks and especially Skip. Neither were happy with the other’s life choices but both understood the need to make a living. For all this, Moe was saving up for a nice burial plot when she died. When of the Commies offed her, Skip paid for a funeral so she wouldn’t be sent to Potter’s field.

Final review: 4/5

Up next: Destry Rides Again