Rear WIndow (1954) - Updated

Who in their right mind would make a film that takes place in a courtyard? Rear Window has always been fascinating from a technical standpoint and Alfired Hitchcock is certainly not The Master of Suspense for nothing. He uses the confined space of a single Greenwich Village courtyard with an incapacitated individual to truly build the tension to immeasurable heights. The events within the film are often highly bemusing as Hitchcock has a wicked sense of humor whether Jefferies is trying desperately to scratch that itch or the conversation turns morbid as he tries to eat breakfast.

The script has so many great little moments of back in forth repartee; some supplied by the always dynamic Thelma Ritter who plays the nurse with a lot of advice and opinions about rear window ethics: "We've become a race of peeping toms. What people ought to do is get outside their own house and look in for a change. Yes, sir. How's that for a bit of home-spun philosophy."

James Stewart is always a pleasure, but this time around he is perhaps at his most constrained as famed photographer L.B. Jefferies, who is laid up in his apartment for weeks on end with a leg in a cast. He got the injury thanks in part to his last big photo shoot where he ran in front of an incoming race car. With nothing better to do he spends his idle moments people watching and getting to know his neighbors. That's one way to put it at least. As an actor Stewart is stuck and relegated to conveying his whole performance through his gaze and the dialogue he speaks to those few who come in and out to see him. Most of what he's doing is simply looking across the way and yet it works.

His neighbors are as follows: 

There's Ms. Torso who is an aspiring dancer and always the target of many men. There's Ms. Lonelyheart who never can find the love she so desires. A washed-up composer spends the entire film trying to figure out his newest project (even getting a visit by Hitchcock himself). There the newlyweds who hardly ever leave there bedroom, because they're doing something... Then, comes the older couple on the second floor with a cute little dog and the sculptor who lives below.

Most interesting of all is the couple directly across the way from Jeffries, because that''s where a long-suffering husband and his wife live. All seems normal to begin with, however, Jeffries begins to have his suspicions thanks to circumstantial evidence and no sign of Mrs. Thorwald. His first thoughts immediately shoot to murder, but it seems highly unlikely. Day and night he continues to watch seeming to get more evidence, only to have his theories crushed, and then gain new hope through more evidence. 

The interesting part is that as an audience we are fully involved in this story. We see much of the picture from Jeffries apartment, because there is no place to go and so we stay inside the confines of the complex. In this way Hitchcock creates a lot of Rear Window's  plot out of actions occurring and than the reactions that follow. We are constantly being fed a scene and then immediately being shown the gaze of Jeffries. It effectively pulls us into this position of a peeping tom too. Danger keeps on creeping closer and closer as he discovers more and more. The narrative continues to progress methodically from day to night to the next day and the next evening. 

In the climatic moments he finally faces the man who he always looked in at from the outside and yet by the end the roles are reversed with Jeffries space being fully invaded and yet he can do little to flee, because of his cast. Hitchcock cuts it in such a choppy and chaotic way which breaks with the smooth continuity of the rest of the film, but it works so wonderfully in stark juxtaposition.

This is one of the main appeals of Rear Window, because it has this Hitchcockian story of murder, mystery, and suspense. However, I am constantly eager to revisit this story, since there are so many other intricacies that are of interest. 

Although the film uses a score by Franz Waxman, the majority of the sounds heard are diegetic and they either are street noises or music wafting around the courtyard from one of the apartments.  Also, there is only one small outlet to the outside world. At times it becomes fun to survey what is going on whether it is kids playing on the street corner or cars passing back and forth. It builds this sense of realism suggesting that this world that has been created is larger than this one set full of apartment buildings. 

Another important element is themes of romance and love. Jefferies comes into the film with issues in his own love life. His girl is the elegant and refined Liza Fremont who seems perfect, too perfect in his estimation. In his mind, they just don't seem compatible enough and he cannot see marrying her. It's something they have to work through because she truly loves him.

Really every character essentially has a different outlook on love and different struggles, because romance is never an easy thing. Like the lyricist's song it is so often fragmented, but in this case Jefferies and Lisa seem to figure things out just like the song finally gets finished. The moment where you can see it in Jefferies' face that he is both impressed and worried for Lisa's safety seems to be the time when things change. He realizes his love for her since she is very dear. He quits his thinking and his analyzing of their relationship, as gut-wrenching emotions take over when she is caught. In a sense he listens to Stella's earlier advice: "Look, Mr. Jefferies, I'm not an educated woman, but I can tell you one thing. When a man and a woman see each other and like each other they ought to come together - wham! Like a couple of taxis on Broadway, not sit around analyzing each other like two specimens in a bottle."

Wendell Corey in his supporting role as Jefferies' friend and the police detective is a man who can be a skeptic and still prove his loyalty as a friend. They can be at odds and still poke fun at each other with mutual affection. It feels real. Raymond Burr as the villainous Lars Thorwald works well too, because he is certainly an angry, unfriendly grouch, but he does not seem altogether evil. It shows how easy it is for the lines to be blurred. 

Above all Grace Kelly shines opposite Jimmy Stewart. There's no one quite like her, so elegant, eloquent, with a touch of playfulness and adventure. She is willing to fight for her man and even go out on a limb for him (ie. breaking into Thorwalds' apartment). One of the film's most extraordinary images out of many has to be when a shadow covers the face of Stewart as he rests. Then there is a closeup of Kelly, her face slowly descending towards him. It's hard to forget and for the rest of the film she attempts to not let him forget her. 

It's not often easy for me to make statements like this, but Rear Window has to be close to my favorite film of all time. Yes, I said it. It never gets old for me and I pick out new things every time. It's more than just a mystery thriller. Hitchcock made it a technical marvel that is also steeped in themes of love and ethical questions. The players are the best of the best from James Stewart, to Grace Kelly, to Thelma Ritter, all down the line. It's at times deliberate, but never boring, completely immersing the viewer into this drama as a firsthand witness. It's the type of cinema we just don't get everyday because it has everything and it cuts to the core, to the most visceral level. That is the sign of cinematic greatness, 

5/5 Stars

It's a Wonderful Life (1946) - Updated

Every time I go through the emotional, romantic, heart-warming and at times uncomfortable roller coaster that is It's a Wonderful Life, something new always seems to stick out to me.

It is always impressive for a film of this length that so much is packed into it. Within minutes we are fully enveloped in this story and every sequence gives further insight into these characters. There is hardly ever a wasted moment, because there is significance in each scene. Pointing us to the nature of George Bailey.

Furthermore, it is easy to forget the darkness that this film submerges itself in, because it reaches such a jubilant crescendo. However, this is a story that covers the years including The Great Depression and World War II. Its protagonist sinks into a state of wretchedness complete with angry outbursts, negative feelings and drunkenness. George Bailey loses all hope and his perspective is so completely distorted. For all intent and purposes his life looks like it's over and it takes a frightening alternate reality to shake him out of his disillusionment. Put in this framework it makes sense why it was a commercial flop when you juxtapose it with the big winner that year The Best Years of Our Lives. They both deal with post-war reality but with very different lenses.

That's the benefit of hindsight and a new context because we do not usually see It's a Wonderful Life as a gloomy post-war tale but a more positive parable that is universal in its impact. The first part of this story feels a bit like a Job story of hardship and the second act is reminiscent to Dickens' A Christmas Carol, but that's the most simplest of observations. There is a lot more to be parsed through.

The romance of George and Mary is what many of aspire to and want and it causes us to really empathize with their young love that weathers the good and bad breaks they receive. It's the fairy tale love story we want with the rock hard reality we are used to in our own lives. Some favorite moments in their life together would be the splash they make during the Charleston dance off, singing Buffalo Gals together, embracing on the telephone, sharing a makeshift honeymoon together and embracing after George gets his new perspective on life.

There are a fair number of close-ups utilized in this film, but they are usually used at crucial points in the narrative and they tell us a great deal about both George and Mary.

The first key moment comes during a freeze frame of grown up George with hand outstretched giving us our first look at the man we will be following from there on out. The next big moment occurs when George learns that Potter will gain control and the Building and Loan will be disbanded if he leaves. He realizes in an instant that he must give up his plans. Then, he waits excitedly for Harry with Uncle Billy and it is a happy moment, but George learns his younger brother might have another job. The camera follows his worried face as he goes to follow his new sister-in-law. Never thinking of himself; he realizes that Harry has a chance for better things and that leaves George still working  the Building and Loan.


After their tiff, the scene where George and Mary are talking on the phone with Sam Wainwright is a solidifying moment of their relationship. There are so many underlying emotions and unspoken feelings that they are having trouble figuring out and reconciling. And yet their is that violent epiphany when their eyes link. The tears and anger are quickly traded for passionate kisses reflecting the often complicated facts about romance.

One of the final close-ups that finally hits home occurs when the now non-existent George stumbles away from the front door of his mother, who now has no concept of him. There is sweat on his brow (maybe from the 90 degree summer heatwave) and desperate bewilderment in his eyes. This is the lowest point he could have imagined. His own mother does not know who he is. His wife has grown old and lonely in an existence of exile. Stewart's face is so expressive and earnest suggesting that George knows just how important human companionship is. Humanity was made to be in fellowship with each other. Lack of money means very little in comparison to our friendships and family ties. This is essentially what George finally comprehends and what Clarence reminds him. George understandably lost sight of his wife and his children and his friends. They were a gift not to be taken lightly.

Aside from these close-ups, it is also evident that a great deal of  effort was put into creating this world from the characters and their back stories to the town itself which was constructed on the RKO lot. Everything from the building facades, to stray dogs and snow make the drama more atmospheric. It's one of those films that reveals the beauty of using real props inhabited by seemingly real people. That's why I sometimes am disillusioned by CGI. Although it can allow us to create amazing spectacles, oftentimes it creates a world that feels altogether fake and alien. It's not relatable and it lacks the humanity that makes up our existence each and every day. In other words it has very little of what makes It's a Wonderful Life so compelling to me.

Perhaps there are more impressive or greater films but their are few with greater heart and there is something to be said for that.

5/5 Stars

Harvey (1950) - Updated

Why am I so infatuated by Harvey you ask? Let me clarify that. I'm not talking about the title rabbit. Why am I so enamored by this fantastical film from 1950? It all stems from Jimmy Stewart as Elwood P. Dowd which was undoubtedly one of the most unique and remarkable performances in his storied film career.

Elwood is often quotable (Here, let me give you one of my cards, What did you have in mind, etc.). However, I think his innocence and perpetually pleasant demeanor is what makes him so wonderful to moviegoers like myself and to many of the characters in this story. He has his oddities to be sure but a little common courtesy and thoughtfulness is something that is often lacking in this world. Elwood is the complete epitome of that kind of individual. He always has an open invitation, he constantly insists that others enter before him, he has a penchant for giving flowers, he is the king of compliments and he can put a positive spin on anything (I Plan to leave. You want me to stay. Well, an element of conflict in any discussion's a very good thing. It means everybody is taking part and nobody is left out).
. 
Sure, his friend is a giant invisible rabbit named Harvey. So what? By the end of this film I might be a little bit of a lunatic myself but after all that's being human for you. What makes us who we are, are those quirks. For Elwood it's his pal Harvey, for others it might be something more mundane. 

I will undoubtedly keep returning to Harvey because it is a thoroughly enjoyable film that gives us a little lesson in life. It does not hurt that it is quite funny in a whimsical sort of way. 

As I noted already Stewart is wonderful with playing Mr. Dowd straight, but he is surrounded by an eclectic group including Josephine Hull, Cecil Kellaway and Jesse White. Although Charles Drake and Peggy Dow are somewhat unremarkable both of them fit the sentimentality of the film just right. It's a pity Dow was not in more films because she seems like such a lovely person on the screen. But why focus on the negative, because after all Elwood P. Dowd never would.

4/5 Stars

The Best Films of James Stewart

1. It's a Wonderful Life
2. Rear Window
3. Vertigo
4. Mr. Smith Goes to Washington
5. The Philadelphia Story
6. The Man Who Shot Liberty Valance
7. Anatomy of a Murder
8. Harvey
9. The Shop Around the Corner
10. You Can't Take it With You
11. Winchester '73
12. Rope
13. Destry Rides Again
14. The Mortal Storm
15. The Naked Spur
16. The Man from Laramie
17. Bend of the River
18. The Man Who Knew Too Much
19. The Far Country
20. Vivacious Lady
21. The Glenn Miller Story
22. The Spirit of St. Louis
23. The Flight of the Phoenix
24. After the Thin Man
25. Call Northside 777
26. Broken Arrow
27. The Stratton Story
28. The Shootist

The Man Who Shot Liberty Valance (1962) - Updated

Nothing's too good for the Man Who Shot Liberty Valance!!! But who is he exactly? How did it happen? Where is he now?

The Man Who Shot Liberty Valance is perhaps one of the moodiest and most atmospheric westerns of all time. In a sense it is almost like a Noir Western with its often stark cinematography (especially during the climatic moments) and it is told through a long flashback that encapsulates nearly the entire narrative. Both qualities are typical film-noir.

John Ford had numerous classic westerns but this one is possibly one of the darkest in tone. The film has a typically great John Ford cast (like My Darling Clementine or The Searchers). Of course it would not be one of his westerns without John Wayne, then add James Stewart, Vera Miles, and of course Lee Marvin. Then the secondary cast is rounded out by such great character actors as Edmund O'Brien, Andy Devine, Woody Strode, Strother Martin, Lee Van Cleef, John Carradine, and Denver Pyle among others.

This film is also steeped in politics. It becomes more obvious the more you watch that there is this underlining conflict between democracy and a different system of representation. Could this be a critique of Communism also packed into a western? Probably.

One of the moments that really stood out this time around was the flashback within the flashback when Doniphan revealed his point of view to Stoddard. He was in fact the man who shot Liberty Valance. We knew it at heart but finally we have the proof and all of sudden his behavior seems justified and he becomes the tragic hero of the film.

It is an unjust ending and yet it plays out the way it was meant to, maybe not the way it should have. The lawyer got the girl, the fame, and the spot in Congress, because he is a hero for something he did not actually accomplish. Tom instead is the one who fades into the past. It struck me that this is one of the few films I can remember where Wayne actually dies, the other would be the Shootist. Except here he is dead before the story has even began. The legend of John Wayne himself lends nicely to this legendary man in the film who we only know through the recollections of others. As the newsman noted, when the legend becomes fact you print the legend.

4.5/5 Stars

Winchester '73 (1950)

Starring James Stewart and directed by Anthony Mann, this western follows the journey a special rifle takes in the old west. Stewart wins it in a competition but it gets stolen soon after. An Indian trader wins it in a card game only to have an Indian take it. Stewart, his pal, get pinned down with some cavalry by the Indians. They survive and the rifle is given to a young man with a girlfriend after Stewart is gone. A treacherous gunslinger coolly kills for it but then gives it up to the original bandit who claims it as his. In a final mountaintop showdown, Stewart faces off with his estranged brother who killed their father. He wins back his rifle and rides back into town to his friends. This is a good western with an interesting storytelling device. It was a surprise to see Will Geer, Rock Hudson, and Tony Curtis as unknowns.

4.5/5 Stars

The Shop Around the Corner (1940)

Starring James Stewart and Margaret Sullivan with direction by Ernst Lubitsch, the film follows the events in a little shop in Budapest Hungary. Alfred Kralik (Stewart) is the most respected employee in the shop and when Ms. Novak (Sullivan) comes in he advises her no jobs are open. However, she does land one and thus begins their rocky relationship. They are constantly at each others throats arguing. Both of them want to end the conflict on a good note as they go their separate ways to marry people that they were corresponding with by letter. When Stewart is to finally meet his unknown lover, he is shocked to look in and see Ms. Novak. Through a series of events she finally figures out he was the writer of all her letters and the two former enemies fall in love. This unorthodox romance has good characters and comedic moments that make it enjoyable to watch.

4.5/5 Stars

Destry Rides Again (1939)

This comedy turned dramatic western, starring James Stewart and Marlene Dietrich, begins in a town run by a saloon owner and inhabited by a sleazy song girl. Corruption and cheating reign supreme as the sheriff is killed and the town drunk takes his place. He turns right around and calls the son of an old friend, Tom Destry Jr., to be his deputy. Despite a comical entrance, and an abhorrence for guns this man is very different. Using his smarts and playing dumb, he is able to work for justice even though he seems to be helping the villains. He picks up the trail of the dead sheriff only to have the present sheriff shot as well. In the final unorthodox showdown, good fights bad and the womenfolk join the fray. Destry finally takes up his gun and is nearly killed, but he gets the town boss in the end. It carries another great cost however. Despite this tragic end, the film finishes on a lighter note. You will finish the film understanding that Destry knew a lot of people in his time.

4/5 Stars

Harvey (1950)

Having a solid cast headed by James Stewart with support by Josephine Hull, the film follows the life of a very pleasant man, Elwood P. Dowd, who befriends everyone he meets. However, he has a major peculiarity in that his closest companion is a 6 foot 3 1/2 inch rabbit named Harvey. His loving but annoyed sister tries to get Dowd interned at the sanitarium. However, due to circumstances, things do not turn out as she planned. Along the way Dowd capivates and befriends many people with his simple charm. Rather then have her brother injected so he forgets Harvey, Hull's character realizes he needs to stay the same. With everyone in a happy and content mood, Dowd walks off again with his best friend. Stewart is wonderful in this quirky role and overall the cast is very good. I have to say I was wary of this film based on the premise but after you get past the absurdity it really is enjoyable and it reels you in.

4.5/5 Stars

You Can't Take it With You (1938)

Starring a cast boasting Lionel Barrymore, Jean Arthur, James Stewart, and Ed Arnold, this is another comical Capra film. Arnold is a wealthy banker bent on acquiring a block of land for business purposes. Stewart is his son who has fallen over heels for his secretary. Things are complicated by her peculiar family household partly because her grandfather will not give up his land to the banker. Fireworks go off literally and figuratively when the two families meet. It leads to prison, and a chaotic court appearance which causes a further rift. Because his grand daughter is sad, Grandpa decides to sell the family home. Arnold seems to have won, but his son leaves him for his love and so Arnold changes his way. Thanks to a harmonica duet and some dancing a friendship is made and everyone is happy in the end. Every Capra films comes with a message and this one preaches the importance of friends and family compared to money because after all "You Can't Take it With You."

4/5 Stars

The Man Who Knew Too Much (1956) - Alfred Hitchcock

Starring James Stewart and Doris Day with director Alfred Hitchcock, the film follows the couple as they travel to Morocco with their son. Through a series of strange circumstances, Stewart finds himself learning a deadly secret from a dying man he just met the previous night. Soon his son is kidnapped and Stewart along with Day find themselves traveling to England in pursuit. Frantically, they try following leads and by the time they come up with one, the culprits are already gone before the police arrive. Their search finds them at the Royal Albert Hall foiling a plot and then they go to the embassy. Desperately, they keep up the search for their boy and it finally pays off, maybe. With the wonderful direction of Hitchcock and the song Que Sera, Sera, this film is quite good.

4/5 Stars

The Man Who Shot Liberty Valance (1962)

Starring both John Wayne and Jimmy Stewart, with Lee Marvin, Vera Miles, and direction by John Ford, this is certainly a moody western. Stewart, now a successful politician returns to a small town with his wife to pay his respects to an old friend. In the ensuing flashback he retells his story beginning as a young lawyer who had a run in with Liberty Valance (Marvin). After he got well he strove to bring justice and education to the land. Despite their differences, Stewart finds a friend in Wayne who has his eye on Miles. However, everything eventually goes awry when Stewart agrees to face Valance out in the street. He appears to be a goner because he is wounded, but miraculously a shot hits Valance and he falls dead. Stewart now a hero gets the girl and agrees to represent the town. Wayne fades into the background also a hero. The supporting cast includes Woody Strode, Edmond O'Brien, Andy Devine, and John Carradine. With two great icons and a great director, this western is certainly a classic. Although it did not end up making it into the film, Gene Pitney's western ballad deserves to be acknowledged nonetheless.

4.5/5 Stars

It's a Wonderful Life (1946)

This is not only a Christmas classic but a classic in any sense of the word. It is the best of Stewart and Capra adding up to one of the most heartwarming stories of all time.  This may exhibit Stewart is his every man role once again but it breaks away from Mr. Smith in many ways making it another uniquely great film. A film like this that makes you know and feel for characters is certainly worth watching.

Starring Jimmy Stewart and Donna Reed with a fantastic supporting cast,  the film tells the life story of George Bailey. We watch with the angel Clarence as he sees George's life unfold. George saves his brother Harry as a boy and as a result loses hearing in his ear. He works in the Bedford Falls drugstore and keeps the proprietor Mr. Gower from making a deadly mistake. Later on he plans to travel the world and go to college so he can escape his hometown and do bigger and better things. But once more he sacrifices. One fateful day, he doesn't know it yet, but he meets the love of his life Mary and the same day his kindly father has a stroke. Soon after,  Harry goes off to college and George is left holding down the fort at their father's old building and loan. He builds up all those around him with selfless kindness while simultaneously standing up to the grumpy millionaire Mr. Potter. Eventually he marries the love of his life and has children. First, during the Depression George gives up his honeymoon to keep the building and loan open. Then, during WWII while his brother and others become heroes, George stays in Bedford Falls because of his poor hearing. In this post-war period the story picks up in the present.

Although by unfortunate circumstances George Bailey finds himself contemplating suicide after the absent-minded Uncle Billy misplaces $8,000. That's when Clarence comes into his life to show George just how important he really is. George sees a world where Harry is dead, Mr. Gower is a disgrace, Martini does not own the bar, his mother has no sons, Uncle Billy is insane, Violet is disgraced, Bert and Ernie do not know him, Mary is an old Maid, and Mr. Potter has monopolized Bedford Falls. 

Once he gets his life back George finds immediate joy and gains so much because of his friends and family. He runs through the streets of Bedford Falls yelling out "Merry Christmas" because he is simply grateful to live again. Miraculously the whole town rallies around him and George reaps the reward for all he has sowed over the years. Clarence is finally awarded his wings and George Bailey is the richest man in town. There is nothing much to do after this film but simply be happy and sing "Auld Lang Syne." It is a Wonderful film in many ways, with a wonderful cast, and a wonderful message. It has some of the greatest character development of any film ever because you do not simply become attached to one man but an entire community. That's what makes the scene where Uncle Billy loses the money one of the most difficult for me to watch. Each and every time I'm so attached to these people I cannot bear for anything bad to happen to them, even when I know the resolution. In fact, it is interesting to focus on just one of the supporting characters and see how they are effected by the life of George Bailey. It makes me ask myself if I were to die tomorrow would anyone care. We know in the case of George they certainly would.

I am further reminded of the phrase that is written on the wall of the building and loan, "You can only take with you, that which you give away." This is what George Bailey did and I believe it is something that each and every one of us should be mindful of. He is a great character not only because James Stewart played him genuinely and with such magnetism and heart but because he was such a sacrificial figure. True, this is a sentimental film given the title and the director, but it it paramount to realize the progression this film follows. George must sink into the depths of his despair and disillusionment before he can truly realize that It's a Wonderful Life. I would challenge you the next time you watch this film, to not simply acknowledge it as perennial Christmas fare but look a bit deeper because there is so much more here. As always attaboy Clarence! You did it again. 

5/5 Stars

The Philadelphia Story (1940)

Headlined by Katharine Hepburn, Cary Grant, and Jimmy Stewart, The Philadelphia Story  tells a comical tale of a divorced socialite who is about to be remarried. Tracy Lord is an arrogant socialite who divorced her equally fiery husband C.K. Dexter Haven. Now it is the day before her wedding to another man. However, Haven returns and brings a long two magazine reporters to get a scoop they were forced into. After a lavish party and many drinks the reporter (Stewart) and Tracy Lord find themselves spending an inebriated night talking and swimming. Haven manipulates the situation and the future husband Kittridge, who catches the tail end, believes something bad is happening. The next morning the wedding is in jeopardy and Hepburn and Stewart are oblivious. Although nothing happened, Lord agrees to terminate the wedding and Mike (Stewart) tries to save her embarrassment by proposing marriage. However, she realizes it is not meant to be and goes to Haven while Mike returns to the camera woman who loves him. It all ends well but the joke is still on them in the end. This romantic comedy has a lot of star power and it is actually pretty good.

4.5/5 Stars

Rope (1948) - Alfred Hitchcock

What is the perfect murder? Hitchcock seemingly toys with this question in Rope . Starring Jimmy Stewart, Farley Granger, and John Dall, the latter two are students who murder their peer from university. Their only reason for doing it however is to see if they can get away with the crime. To complete their little experiment, they invite the boy's family, his girlfriend, and other guests over to dinner, right in the room where they committed the murder. As an after though they invite their former professor (Stewart) who is the only one who would be able to catch them. At first Stewart does not suspect anything but eventually he becomes suspicious without letting on. Finally, the students lose their cool and Stewart catches them red-handed. This quickly puts an end to the perfect crime. This film is interesting because it was made to look like it was shot on one reel. Hitchcock's movies are often known for the editing and yet this film was shot almost like a play in very long takes.

                                                            4/5 Stars

Vertigo (1958) - Alfred Hitchcock

*May Contain Spoilers!

Vertigo is an intriguing Hitchcock thriller, set in San Francisco, that has you cheering for Jimmy Stewart as he falls in love and struggles with his fear of heights. Right away you are met with the haunting opening credits and the dramatic opening sequence where Scottie (Stewart) acquires his vertigo. From then on Scottie must cope with his dizzying condition however, he has no time to remedy it since he suddenly finds himself tailing a beautiful woman for a friend. Much of the rest of the film seems surreal with minimal dialogue and interesting cinematography, leading up to the death of Madaleine (Kim Novak). Then the film switches gears and is mostly about the impact on Scottie who had become infatuated with Madaleine. Often he appears to be in a trance and he becomes obsessive after meeting Judy who looks strikingly like Elster's dead wife. Scottie becomes controlling, trying to make Judy into the image of the woman he loved. She just wants him to love her for who she is but that cannot be. Fittingly, the film ends the way it began with drama and tragedy. This certainly is a fascinating view of human psychology and complex emotions. In order to appreciate this film it is almost necessary to watch it at least twice, once to understand the plot and then another time to spot the little details. Of all of Hitchcock's work, I would say I still enjoy Rear Window or North by Northwest better but this film at least deserves a viewing or two.

5/5 Stars

Mr. Smith Goes to Washington (1939)

As both a political drama and feel good movie, this film cemented James Stewart as an acting powerhouse. Furthermore, despite its age it acts as a timeless reminder of the evils of political machines. It makes us root for the underdog and it is distinctively American. Here is a cast and a story that seemingly could never be equaled, but what this film really had going for it was an idealistic outlook. I can, myself, often be a cynical person and Mr. Smith never fails to make me acknowledge the numerous attributes that make our country great whether it is through montage, monuments, music, and of course Jefferson Smith himself. 

In one of his best performances, Jimmy Stewart is an idealistic, naive boy's troop leader named Jefferson Smith. The starry eyed Smith, trusts that our nation is founded on some very noble principles that should be fought for tirelessly in government and in society. Above all he is a likable fellow who earnestly believes in the merits of this country and he is beloved by boys all across the state. Now this all sounds fine and dandy, but it would never have come across on the screen if it had not been for Stewart. He emanates this awkward and innocent energy that puts life into the idealistic creation of Jefferson Smith. 

When the film opens, everything is in turmoil when a senator suddenly dies and a replacement is needed fast. Believing Smith will be a pawn, a powerful man named Taylor (Ed Arnold) gets Smith a seat in the nation's Senate. There he joins the respected Senator and old family acquaintance, Joe Paine (Claude Rains), who is also a cog in Taylor's machine. However, although he is out of place in Washington, the patriotic Smith does his best to be worthy of his position. He realizes that the press will not give him a break and the other Senators do not take him seriously. So on the urging of Paine he decides to come up with a bill for a boys camp back in his home state. He requires the help of the world weary secretary Saunders (Jean Arthur) to get his bill done. Initially she is disgusted by his naivete, but as she grows to know him she realizes he is only going to get himself hurt. His action to propose a bill soon find him face to face with the political machine that elected him. Taylor also has stakes on the piece of land where the boy's camp would be and he wants it for a dam. 

Smith finds himself being accused of using his position for his personal gain and pretty soon he is before a committee with false evidence piling up against him. With all odds and seemingly everyone  against him as well, Smith makes one last monumental effort. Thanks to the help and guidance of Saunders, Smith fights to plead his case through a filibuster. Fatigued by many hours of giving impassioned speeches and reciting the Constitution, Smith finally collapses but not before effectively succeeding at his task. I doubt this would every happen in real life, but in the film it is fantastic watching the Senate break out into complete and utter mayhem. Ultimately, a young man with "a little bit of plain, ordinary, everyday kindness and a little looking out for the other fella," was able to win. True, it may be overly sentimental, but it is a wonderful piece of sentiment all the same.

Frank Capra was wonderful at these type of cheering tales and his stars were in top form. There is an absolutely wonderful supporting cast here including Claude Rains, Edward Arnold, Eugene Pallette Thomas Mitchell, Charles Lane, Harry Carey, William Demarest, Beulah Bondi, and numerous other familiar faces I don't even know the names of. That's the beauty of the studio system I guess. It may have the same director, same leading man, and some of the same general themes, but Mr. Smith Goes to Washington covers completely different territory from Capra's later classic It's a Wonderful Life. Mr. Smith should be seen as a unique, and very much American film.


5/5 Stars

Rear Window (1954) - Alfred Hitchcock

Starring James Stewart, Grace Kelly, and Raymond Burr with director Alfred Hitchcock, this is a superb film that takes place in a very limited space. L.B. Jefferies (Stewart) is a professional photographer who is incapacitated in his flat with a broken leg. All he has to pass the time is watching the people across the courtyard. Although he very rarely interacts with them, he slowly begins to know them just by spectating. Pretty soon he realizes something is amiss when the annoying wife across the way is no where to be seen and her husband (Burr) is acting strangely. With help of his ravishingly beautiful girlfriend (Kelly), Jeffries tries to uncover the truth. Everything escalates when Lisa breaks into the man's apartment and it finally peaks in a climatic confrontation. In the end all is well and Jeffries realizes his true love. This is one of my favorite films because of its unique setting and it is possibly Hitchcock's best. He takes an environment that is so confined and then makes a very entertaining and suspenseful film with it.

                                                            5/5 Stars

Anatomy of a Murder (1959)

Starring Jimmy Stewart, George C. Scott, Lee Remick, and a cast of others, the film follows a small town lawyer (Stewart) as he defends a man who has committed murder. The whole case is complicated by the fact that the Lieutenant's beautiful wife was supposedly raped by the murdered man. Now Stewart must battle it out in court using every strategy he knows in order to save his client. With the help of witnesses and evidence both sides have substantial cases. However, Stewart finds the topper in the dead man's daughter, hoping this will save his client's life. Despite the valiant effort of the prosecuting attorney and Stewart, everything is in the hands of the jury so now all they can do is wait. With an interesting score, a methodical story, and a great cast, this movie was a good one. The judge especially made this film enjoyable for me and you certainly cannot beat Stewart. It should also be noted that this film has one of the most famous movie posters of all time which was designed by Saul Bass.

4.5/5 Stars