“T” For Texas, “T” For Trouble, “T” For Well You Get The Idea, “T”-William Holden And Glenn Ford’s “Texas” (1941)-A Short Film Review

“T” For Texas, “T” For Trouble, “T” For Well You Get The Idea, “T”-William Holden And Glenn Ford’s “Texas” (1941)-A Short Film Review

DVD Review

By Lance Lawrence

Texas, starring William Holden, Glenn Ford, 1941

[In a recent introduction to this new series, a series based on short film reviews for films that deserve short reviews if not just a thumb’s up or down I noted that Allan Jackson, the deposed previous site manager, required his film reviewers to write endlessly about the film giving the material an almost cinema studies academic journal take on it. That caused a serious decline in the number of reviews over the years which I hope to make up with a flurry of snap reviews for busy people. To see in full why check the archives for November 28, 2018- Not Ready For Prime Time But Ready For Some Freaking Kind Of Review Film Reviews To Keep The Writers Busy And Not Plotting Cabals Against The Site Manager-Introduction To The New Series Greg Green]

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Hold it I am not going to talk about red state Texas, nor about rising star in some quarters of Beto O’Rourke, nor even about the oil-rich Texas of the 1950s Giant which made James Dean’s short career resume blossom and solidified Rock Hudson as a matinee idol (his subsequent tragic fate, his coming out of the closet with his AIDS announcement does not take away from that 1950s status). No, today we are going back to post-Civil War Texas (which was rebel gray) and the big-time cattle drives that drove that state’s economy well before the oil came gushing out of the ground in the film Texas. We will look at the fortunes of a couple of defeated “Johnny Rebs” trying to make their young ways in the world after their lost cause had been defeated.

The story line hinges on the exploits of Todd, played by Glenn Ford last seen in this space trying to make time with B-movie queen Gloria Grahame very married to a bad ass guy whom she hates but will not give her up and Dan, played by William Holden last seen in this space face down in Norma Desmond’s swimming pool in the high numbers end of Sunset Boulevard in the film of the same name. No, that is not right on the Holden sighting, last seen snapping his provocative jazz beat fingers at provocative come hither Kim Novac in Picnic. They leave the war-weary South to try their luck in Wild West, wide open lawless, or rather make your own law with a gun Texas. Which at the start get them into a series of semi-comic escapades around a stage robbery and end with them on opposites sides in the cattle wars-Todd as the “good guy” herd driver to an insatiable market and Dan as the “bad guy” rustler.

Naturally something has to give, despite their comradeship, and in the end Dan had to go down, had to take the bullet from guys who wanted the whole cattle business to themselves leaving not only “Rustlin’ Dan” out of the picture but Todd as well. RIP Dan, RIP. Oh, wait a minute did I mention, silly me, the love angle. Dan and Todd both were smitten by the same woman, the oddly named “Mike,” hard-headed and independent daughter of a rancher. You know in the end only one guy can be left standing-and there was only one. Dan might have rued his exit, might have asked for a better ending that a few spare bullets to his body but that was the way it was in Wild West Texas. Short enough, Greg?

The Rich Really Are Different, Very Different From You and I, Me, And That Ain’t No Lie-Audrey Hepburn And Humphrey Bogart’s “Sabrina” (1954)-A Film Review

The Rich Really Are Different, Very Different From You and I, Me, And That Ain’t No Lie-Audrey Hepburn And Humphrey Bogart’s “Sabrina” (1954)-A Film Review

DVD Review

By Fritz Taylor

Sabrina, starring Audrey Hepburn, Humphrey Bogart, William Holden, directed by Billy Wilder,  1954

How the hell did I get this assignment, this woman’s fairy tale romance assignment from site manager Greg Green? And that is posed as a question with about seven riddles since I am basically a stringer, an occasional writer in this publication and moreover when I do write it usually is about some military matter stemming from my now long- ago Vietnam War hell on wheels service. What got me this assignment if you can believe this though from what Greg said was that I had done a good job on a previous film review I was asked to do to give a side glance view of another film and so he thought that I would be ideal to go through my paces on a “women’s film” from back in my youth. Hence my review of Sabrina forthwith.

Since I don’t have much experience with getting what Sam Lowell, a now retired film editor and occasional contributing writer has called “the hook”, the way to lure the reader in to what the film is all about I asked old friend Seth Garth to help me out one day when we were standing around the office water cooler and I was perplexed for an angle on the film. He almost automatically, having seen the film many years ago, threw out the idea gathered from F. Scott Fitzgerald that here was yet another example of the rich, meaning to both Fitzgerald and to Seth the very rich, the old money Yankee-Dutch rich and not the latter day new technology rich like Bezos, Jobs, Musk and that lot who are still wet behind the ears in getting adjusted to the ways of that segment of the ruling class that actually made things and have prospered since Mayflower/Half Moon times.

Funny once Seth grabbed that idea the rest was easy except of course the romance among the Mayfair swells part and Billy Wilder’s ironic and sardonic look at the mores of in this case the New York upper gentry living out in Long Island and not in Manhattan. The plot is simple enough beyond what Seth also called, in the end “the boy meets girl” trope that has saved more than one Hollywood production when the going got slowed down. Sabrina, to the stable born via her father’s job as chauffer to the ultra-rich family, played by sparking vivacious girl next door with a bit of the devil in her eye Audrey Hepburn who almost any guy from my generation would have had at least a momentary crush on, is in love with the younger son, David, a scion to that family wealth played by ruggedly handsome pretty boy William Holden last seen in this publication according to Sam Lowell face down in ancient film star Norma Desmond’s swimming pool in anther Billy Wilder classic Sunset Boulevard and doing the dance of sexy dances with young Kim Novak as an iterant in Picnic. David, starting out anyway has no eyes for her and so that seems like a lot of things about the lives of people to the stable born the end of it.

Except that through a strange twist of funny fate Sabrina is sent to Paris to learn to become, well, a cook well within her station in life. 

But you know as well as I do that Audrey Hepburn is not going to be slaving over hot stoves and steaming kettles for long and she didn’t by virtue of an acquaintance with a French aristocrat of the old school. When she returns to the estate David has nothing but eyes for her as she has become a sophisticated young woman. He is ready to dump everything for her, including a Mayfair swell gal whose family just happens to have extensive sugar cane interests. Enter Linus, the older brother played by aging Humphry Bogart last seen again according to Sam either sending Mary Astor over to save his ass in some stuff of dreams caper in The Maltese Falcon or getting waylaid by come hither young Lauren Bacall in the film adaptation of Ernest Hemingway’s  To Have Or Have Not.  

Business is business to old Linus and abandoning that sugar interest for some dazzling fairy princess from Paris is not in the program so he is committed to sabotaging David’s plans whatever the cost. Including taking a run at Sabrina himself. 

That would eventually be his undoing and his break from the man in the grey flannel suit 1950s business chain gang existence. See Linus went too far, fell for the much younger Sabrina (Bogie remember had that thing for Lauren Bacall on and off screen, so this was nothing new) but that is where things get interesting. His falling in love complicated things to such an extent that Sabrina agreed to head back to Paris and forget this cagey pair. Then Linus does a double reverse maneuver attempting to send David to Paris with Sabrina but David decided to do the family right thing and confronted Linus with his hangdog look and told him that he would marry that convenient heiress after all and booted Linus out the door to grab the ship to Paris with Sabrina. Yeah, the rich are very different in lots of ways even the way they romance among themselves.

Scene One, Take Twenty-Two-Audrey Hepburn and William Holden’s “Paris When It Sizzles” (1952)-A Film Review

Scene One, Take Twenty-Two-Audrey Hepburn and William Holden’s “Paris When It Sizzles” (1952)-A Film Review

DVD Review

By Zack James

[As of December 1, 2017 under the new regime of Greg Green, formerly of the on-line American Film Gazette website, brought in to shake things up a bit after a vote of no confidence in the previous site administrator Peter Markin was taken among all the writers at the request of some of the younger writers abetted by one key older writer, Sam Lowell, the habit of assigning writers to specific topics like film, books, political commentary, and culture is over. Also over is the designation of writers in this space, young or old, by job title like senior or associate. After a short-lived experiment designating everybody as “writer” seemingly in emulation of the French Revolution’s “citizen” or the Bolshevik Revolution’s “comrade” all posts will be “signed” with given names only. The Editorial Board]

Paris When It Sizzles, starring Audrey Hepburn, William Holden, Noel Coward, 1952   

[Maybe there is something to this change of leadership on this site. I will not go through the details of the change-over from the now disappeared Allan Jackson, who went by the moniker Peter Paul Markin, to Greg Green since Josh Breslin in his introduction to a film review on the original version of The Front Page (dated December 15, 2017) went over that in detail including the how and why of that moniker choose by Mr. Jackson.  What I will say in the interest of transparency was that I was among the leaders of what became around the office known as the “Young Turks” who were in varying degrees fed up with Markin/Jackson’s concentration over the last year or so on the turbulent 1960s, the time of his coming of age and that of a number of the older writers dubbed “the old-timers” in the dispute rather than the wider look at politics, culture, society, history which was the original intention when this operation got up and running on-line some fifteen years ago.

What I will also say and leave it at that for now is that I am happy that I have been able to finally do a film review rather than being pigeon-holed solely doing book reviews. Markin/Jackson, strangely given his coming of age at a time when among certain elements, especially the young, increasing thwarted any attempts by any writers, young or old, to write outside their specialties and within those specialties to create ranks for example when I started here several years ago I was designated associate book critic and Frank Jackman had the senior position (everybody else then was a stringer, a free-lancer) and when he moved over to Senior Political Commentator I moved into his spot and Brad Fox and Lance Lawrence became associates. Greg has, after a short unsuccessful experiment designating everybody including himself as “writer,” changed to just using everybody’s name alone in their byline identification spot. Maybe when Jackson was younger he would have bought into that idea but not recently so early on I have tip my hat to Greg on this one. Zack]     

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I read somewhere or maybe some English literature professor in college mentioned it but when you break down every story it fits into one of about ten major themes, at least in Western literature. That same observation can be used to cover Hollywood films which after all are in their basic frameworks based on words, on written scripts except the few, very few directors who ad lib their efforts. Hollywood may follow that pattern but when it comes taking a look at itself as a cultural transmission belt it has had a love-hate relationship with films which deal with the film industry. The film under review Paris When It Sizzles (frankly an odd title although the action does take place in Paris although it could have been set anywhere the important thing being that it lampoons every Hollywood trope along the way and so maybe Hollywood where the long knives would be at the ready probably rightly should have been passed over.   

Follow me if you can. Boozy, lazy, out of ideas or having too many ideas screen-writer Richard Benson with a ton of films under his belt, played by William Holden. Holden last seen in this space as a screenwriter turned “kept pet, kept man, floating face down in silent screen seen better days mentally ill Norma Desmond’s high number Sunset Boulevard mansion swimming pool after she put the rooty-toot-toot to him when he tried to leave her is under the gun from his producer played by noted playwright Noel Coward to get on with a script he has been procrastinating about until almost the end of his contract. (That film where Holden was last seen Billy Wilder’s Sunset Boulevard not a paean to the industry that nurtured him either was an example of the hate part of the equation.) Enter Gaby, played by dewy-eyed, magic eyed fetching Audrey Hepburn who even younger guys like me have a crush on the minute they see her on screen and hope against hope of finding their own Ms. Hepburn lookalike, as a American ex-pat typist who is to do that duty while Benson rattles out the story-line before that two days ahead deadline.            

This is the beautiful part of the film (beyond some very funny and a few not so funny sent-ups of writers and the film industry) is that Benson with an assist or two by Gaby goes through every possible film genre once he/they establish the initial idea of having two young people meet in a production he has working- titled The Girl Who Stole the Eiffel Tower. They try the standard boy meets girl thing, suspense, intrigue, thriller, spy, horror, gangster, hell, even an old fashioned stand-by the barroom brawl before they are done. Here is the other beautiful part. This is really a story within a story, a boy meets girl story within a story since along the way, surprise, surprise one beat-up screen-writer and one typist fall head over heels in love. So maybe that thing I read or some English literature college professor was wrong, maybe there is only one major theme in Western literature and Hollywood-boy meets girl (and the modern same sex and transgender variation of late).              

(Thanks Greg for letting me spread my wings and I hope you assign me more film reviews. This is fun. Zack)

             

What’s The Matter With Kansas-1950s Style?-With Kim Novak And William Holden’s “Picnic” (1955) In Mind

What’s The Matter With Kansas-1950s Style?-With Kim Novak

And William Holden’s “Picnic” (1955) In Mind

DVD Review

By Guest Writer Bartlett Webber

Picnic, starring Kim Novak, William Holden, Rosalind Russell, Susan Strasberg, from the play by William Inge, 1955

Maybe it was the first scene where Hal, played by William Holden, jumps off the hobo freight train that set me up to like this film under review, the film adaptation of William Inge’s play Picnic. Ever since my old time growing up days in North Adamsville whenever the trains came by and some dusty local hoboes, tramps or bum (and there are distinctions between them recognized by the whole wandering nation) or passers-through hopped the skids I have been entranced by this whole scene. Spent back in Summer of Love days when I (and an assortment of guys who I hung around with in high school) headed west to see what was up in San Francisco many a night myself on the rattlers (well-named when the hours passed and all you heard out in the prairie was that freaking rattling). So I saw Hal as a wild-eyed spirited forbear.     

I set the headline up the way I did, asking rhetorically what the matter of Kansas was, for a purpose. No, not today’s more political purpose when many are asking what happened to convert one of the reddest states in the nation back in the day (“red” then meaning socialist red) to today’ Republican conservative red but why is everybody in this film ready to heave-ho the old time prairie small town values to get the hell to somewhere else (even if only the next town or next state over).       

  

Here’s the play and you figure out why, okay? That first scene Hal, the muscular brawny hobo saint who shows plenty of 1950s “beefsteak” to an appreciative 1950s female audience), when he lands in this small Podunk town was no accident. He, long weary and without current prospects, expects an old rich father college buddy, Alan, to help him out, get him a fresh start. (Hal obviously had been on hard times since the days when he flunked out of college for lack of study even though he had had it made as the college football hero.) At first it looked his reconnection with that college buddy idea was going to get him back on his feet. But then he spied her. Spied Madge, played by a young and fetching Kim Novak. Moreover Madge spied him and then the dance of dances began. 

All of this taking peeks got its big workout at the town’s annual Labor Day picnic where Madge, know universally for her good looks and apparently not much else, was to under Alan’s guidance be crowned Queen of the May. Hal and Madge are still looking though as they all, Alan, Hal, Madge, Madge’s brainy younger sister Millie, played by a young Susan Strasberg, Madge’s mother and an older neighbor woman head to the picnic and the fun-filled activities that usually go along with such small town festivities, maybe a big town’s too. Then the night falls and the stars seem to be aligned. And for anybody who doesn’t get that idea then you have missed probably the closest thing a 1950s film gets to the act of intimate sexual attraction, of an explicit sexual scene except unlike now with clothes on, when to the strains of Moonglow they dance the dance most of us have all been through.

From there though as can be expected of a guy like Hal who was all fire and motion things go downhill. Alan, as expected, was in a rage that Hal stole his girl and put the rich father-friendly local cops on him for “stealing” his car. Hall gets into a beef with the coppers so we know why he will be on lam (to next state Tulsa). Millie who is eternally humiliated for being a “plain jane” compared to big sister Madge swears she is going to New York and become a great writer once she gets the dust of small town Kansas out of her system. In a side story an “old maid” schoolteacher, played by Rosalind Russell,   desperate to get married and flee her fate gets hitched and blows the burg. And Madge? Well Madge despite those golden prospects with Alan, despite her mother’s admonitions that she can do better than hobo Hal and with little sister’s blessing blows that small town as well (to next state Tulsa as well).           

See this film if only for that “dance” scene which will make you sit up and take notice even in today’s jaded explosive screen sex world. Oh yeah, if you are a guy start practicing those jazzy hip William Holden dance moves. If a gal check out Kim Novak’s “come hither” moves that had even an old guy like me thinking funny thoughts.