Showing posts with label James Stewart. Show all posts
Showing posts with label James Stewart. Show all posts

Saturday, October 11, 2008

The Naked Spur


Somewhere along the way, I picked up the notion that there was a twist ending to THE NAKED SPUR. There is, but not the in the way I thought. It’s a twist so much more engaging than anything I’d have imagined that it elevates the picture from merely good to damn good. Unfortunately, it also makes the film nearly impossible to write about.

I will write that the cinematography is not particularly fascinating and the music is grating, relentlessly telling us what to think and how to feel. Mid-career Jimmy Stewart is fine, as always, and the supporting cast does its job well enough that no one struck me as a “favor cast.”

But the real credit here goes writers Sam Rolfe and Harold Bloom, who fashion a story that appears straightforward, but gets more and more complex as things develop. By the end, even though I knew this was a Western of a certain era, I had no idea how things were going to turn out. And that twist, wow. This movie took me by surprise.

Monday, June 23, 2008

The Flight of the Phoenix


FLIGHT OF THE PHOENIX'S first victory is in its casting.

I know it isn’t fair to bring extratextual knowledge to a film, but when we see Jimmy Stewart behind the controls of that old Air Truck, we know we’re seeing a guy with a Distinguished Flying Cross, an Air Medal, a Croix de Guerre, and 7 battle stars in his dresser drawer. The movie doesn’t have to spend a lot of time convincing us that its lead character is a salty pilot because its lead character is Jimmy Frickin’ Stewart, BGEN USAFR, Ret’d.

The casting victories don’t end with Stewart, however. Ernest Borgnine is phenomenal as a mentally-challenged passenger, Hardy Krüger shines as an aircraft designer who happens to be onboard, and everyone, with the exception of Richard Attenborough, rises to their tasks. A word about Attenborough: while he’s generally fine, there’s a scene that requires him to blend laughter into jagged crying. It’s an important scene, and the actor can’t quite pull it off. Nevertheless, that’s one misstep in an otherwise fine performance.

Great casting aside, FoP works as a Boys’ Own Adventure, with all the elements of exotic location, survival concerns, competition for dominance, honor, loyalty, and the delicate balance between knowledge and skill. It works as an adventure, it works as a psychological study, and it works as a great way to spend two hours and twenty minutes. What a delight.