People we like: Janet Leigh

When I was doing those "People We Like" profiles here a few years ago (see label), one I somehow omitted was Janet Leigh - one of our perennial favourites, and always a pleasure in any movie. Janet (1927-2004) was a blonde California girl who famously got discovered when Norma Shearer saw her photograph at the ski lodge where Leigh's parents worked and, as legend has it, she was soon signed to MGM being one of their ingenues in the late '40s, in a variety of films. She was one of the LITTLE WOMEN in 1949, when HOLIDAY AFFAIR with Mitchum is a delightful Christmas classic. WHEN WINTER COMES was interesting too. The '50s though was her main era.

She is gorgeous in some costumers: SCARAMOUCHE in 1952, and cardboard castle time in comic strips like PRINCE VALIANT and THE BLACK SHIELD OF FALWORTH, with her then husband Tony Curtis. She is a '20s flapper in PETE KELLY'S BLUES, and good in a tough cop drama ROGUE COP with Robert Taylor, both 1954. I somehow missed her and Curtis in HOUDINI. 
She also excels out west in Mann's THE NAKED SPUR in 1953. She was MY SISTER EILEEN in the delightful 1955 musical and gets to dance with Bob Fosse.  We like it a lot, as per review. 1956 saw her in Africa in a routine jungle saga SAFARI with Victor Mature. 1958 was maybe her peak year: with Heston in TOUCH OF EVIL, directed by Orson at his most flamboyant, a modern noir classic where she gets terrorised in a motel, hiding her broken arm most of the time; then the Boys-Own classic THE VIKINGS, filmed in Norway and looking great as photographed by Jack Cardiff, where we love her Princess Morgana, its a perennial that boys of all ages still tune into. There was also a comedy I like, THE PERFECT FURLOUGH (or STRICTLY FOR PLEASURE) in Paris, with Curtis, for Blake Edwards. The marriage to Curtis made them one of the star couples of the era. Then Alfred Hitchcock came calling .... 

I have written about PSYCHO a lot here. Janet may only have been in the first forty minutes, but her Marion Crane dominates the rest of the film, and it is surely a leading performance, and she looks great here. She will always be the girl in the shower at the Bates Motel ... Hitchcock told her he knew she could act and left the role up to her as long as he got what he needed for his camera setups. That long scene with Perkins at the motel is particularly effective.

Frankenheimer's THE MANCHURIAN CANDIDATE was another classic in 1962, though her part was not major in it and she continued throughout the early Sixties: another musical: BYE BYE BIRDIE in '63, a comedy WIVES AND LOVERS, Paul Newman's estranged wife in HARPER in 1966. There was a Jerry Lewis comedy I saw around that time too, purely because she was in it. 
Lesser roles followed but she had more or less retired after a long happy second marriage (she and Curtis divorced in '62). John Carpenter lured her back with a role in THE FOG in 1980, starring her daughter scream queen Jamie Lee Curtis. She also did a good COLUMBO episode in 1975. Janet also wrote some novels and a charming autobiography and seems to have been well liked by everybody. 

Howard Hughes liked her a lot, with her perfect figure, she did his JET PILOT with John Wayne in 1951, directed by Von Sternberg, but it was 1957 by the time Hughes stopped tinkering with it and released it. She looks marvellous emerging from that flying suit in that white tee-shirt, but says in her book that she had to arrange to never be left alone with Hughes, till he eventually found more willing actresses .... 
She will always be one of the essential actresses of the 1950s, along with Kim, Doris, Debbie, Lee, Jean, Deborah, Susan, Ava, Natalie etc. and did sterling work with Hitchcock, Welles, Von Sternberg, Mann etc. (above: Janet in a 1969 "Sight & Sound" interview).

Hitchcock blondes driving to ......

Here's Janet and Tippi driving towards their respective fates ..... the sense of doom created by Herrmann's great score builds as Marion Crane approaches the Bates Motel; and poised socialite Melanie Daniels blithely driving towards Bodega Bay with those lovebirds ...

I am now away for a week in Ireland, but will return with those NOCTURNAL ANIMALS
and DR STRANGE, and a Seventies camp classic; Diana Ross in MAHOGANY, as well as More Bad Movies We Love, and a selection of lesser-known European Classics. and some more "Interesting Careers".

I loved her in the movies

Another enjoyable addtion to the Christmas gift list is Robert Wagner's new book I LOVED HER IN THE MOVIES, his recollections of all the great actresses he knew and worked with, decade by decade, starting with the 1930s.

Whatever one thinks of Wagner as an actor, he is fairly lightweight and agreeable (insufferable movie snob Martin will probably think he should be a shoe salesman too, like his judgement on Kerwin Matthews) and, like Dirk Bogarde in England, Wagner knew everyone (he and Natalie visited the Bogardes in the South of France on one of their European trips). Unlike his contemporaries Jeff or Tab Hunter, Wagner was a Hollywood kid, growing up there - he went to school with Norma Shearer's son, so knew Norma well in her later retired years, and he dated Gloria Swanson's daughter, and writes affectionately about Gloria, she was not like Norma Desmond at all.

We also get affectionate tributes and stories on Irene Dunne, Rosalind Russell, Crawford, Davis (Natalie played her young daughter in THE STAR and she and Wagner were friends for a long time), Stanwyck, Loretta Young, Katharine Hepburn (whom he knew through friendship with Spencer Tracy with whom he co-starred twice), Claudette Colbert and Jean Arthur. He certainly moved in the right circles! 

There's also Lana Turner, Greer Garson, Susan Hayward (very helpful to the novice actor on WITH A SONG IN MY HEART, left), Ida Lupino, Jennifer Jones, Claire Trevor, Betty Grable, Ann Sheridan, Joan Blondell, Lucille Ball, Linda Darnell and Gene Tierney, the impossible Betty Hutton, as well as characters like Thelma Ritter, Maureen Stapleton and Eve Arden. Wagner knows too how difficult it was for actresses to maintain long careers ...

The 1950s saw him pals with Doris and Debbie, the young Marilyn, Janet Leigh, June Allyson, Jean Peters, Joan Collins, Angie Dickinson, Debra Paget. He was at Romanoffs that famous 1957 night when Jayne Mansfield usurped Sophia Loren's debut (left) - he later played Loren's husband in De Sica's THE CONDEMNED OF ALTONA in 1962 and writes very affectionately about her, and also Capucine (Cappy) from THE PINK PANTHER, There were some difficult ladies too - Shelley Winters for one! 
Joanne Woodward and Glenn Close also come in for some respectful praise, and of course there's Elizabeth Taylor, Audrey Hepburn, Julie Andrews and Natalie. 

Wagner, now in his mid-80s parlayed his looks into a long career on film and television. He was good enough for Olivier for his TV CAT ON A HOT TIN ROOF in '76. Its always fun seeing him as PRINCE VALIANT in that wig! His first memoir PIECES OF MY HEART is an agreeable read about it all too. 
He was a 20th Century Fox boy and Natalie was a Warner Bros girl, so he got to know Jack Warner well too - and is hilarious about the abuse Warner heaped on Judy Garland (who would have been so ideal for GYPSY in 62 with Natalie), and he also recounts Vittorio De Sica's hilariously rude comment on Raquel Welch who was driving them mad with her delays on THE BIGGEST BUNDLE OF THEM ALL .... Star gossip does not get much better. As he says: "Movies and TV go on forever - only the delivery system changes ...".

Summer re-vews: favourite Spartacus moments

Though I have the dvd and have seen it several times, it was on television again (with no commercials) so it seemed a good idea to record it and watch again -and I liked it again as much as ever. Its certainly up there with BEN HUR, EL CID, CLEOPATRA and FALL OF THE ROMAN EMPIRE as one of the great epics of that epic era. Kubrick may not have thought much of it (Douglas hired him - they had already done PATHS OF GLORY in 1957 - to replace Anthony Mann, who at least had EL CID lined up next, and teamed up with Douglas again for his HEROES OF TELEMARK in 1964, one of those movies I just never needed to see), but it has several Kubrickian moments on themes on power corrupting. It has some great set-pieces too (I like the scenes with the Romans led by Crassus visiting Ustinov's slave school, which sets the revolt in motion) but it is that cast that delivers. Olivier as Crassus is one of his great performances of that time, Laughton and Ustinov are fascinating scene-stealers, Jean Simmons is ideal, and so is Kirk (he is 100 this December!) and Tony Curtis too as Antoninus. We get that bath scene now between Crassus and Antoninus (with Olivier voiced by Anthony Hopkins) which was considered too suggestive at the time!. Here are some favourite moments and behind the scenes shots:  Tony with Jean and wife Janet Leigh ... Olivier and Jean together again, after their HAMLET in 1948, and John Gavin showing his marvellous chest at the baths .....

Speaking of epics, word on the street has it that the new BEN-HUR is not going to be a success. It seems its just another run of the mill mainly CGI shallow blockbuster for a week or two at the multiplex, and lacks the complexity and richness of the 1959 Wyler film, still wonderful after almost 60 years. Even that TV version of a few years ago (with Ray Winstone as Quintus Arrius) is totally forgotten now. Arrius is not even in the new version (which is 90 minutes shorter than the 1959 one, no Nativity prologue either as it plays down the religious aspect...) as they make more of Sheik Ilderim - Morgan Freeman - the only big name in the cast - but can a black man be a realistic sheik back in this Roman era? Just asking ..... the supposed homoerotic tensions are also gone - Ben and Massala are almost brothers now. But the main question is how will the chariot race look now?

I saw the 1925 silent version last year too (Epics label) and it was nothing compared to the 1959 film, looks like this redundant one will not be around much longer either, another mediocre remake of a classic film. That old quip comes back: "Loved Ben, hated Hur". 

Vic and Janet go on Safari in 1956

Here is a delicious programmer from 1956, and amazingly, Janet Leigh says in her autobio that they really went to Africa to film it - whereas Susan Hayward and Mitchum over at Fox never left the backlot for their African adventure WHITE WITCH DOCTOR, neither did Susan & Ty Power in UNTAMED; Dirk Bogarde and Virginia McKenna also did one, SIMBA, for Rank about the same time, they never left Pinewood. KINGS SOLOMON'S MINES - the 1951 one with Stewart Granger and Deb Kerr is probably the best of these 50s treats (which MGM cannibalised for WATUSI in 1959), and at least they went to Africa, as of course did Huston with THE AFRICAN QUEEN, Ford for MOGAMBO and Hawks with HATARI!; then there was BORN FREE and THE LION plus of course there were endless 'African' potboilers like TANGANYIKA, BEYOND MOMBASA, MOZAMBIQUE etc .... I also remember seeing a black and white African drama SOMETHING OF VALUE in 1957 from a popular Robert Ruark novel, with Rock Hudson and a young Sidney Poitier, but its never cropped up anywhere since. 

A fond childhood memory is looking at the stills layout of current films in the windows of my local cinema The Astor and seeing the stills of SAFARI and then seeing the film, I particularly remember Janet in a canoe in the rapids as crocs slither into the river .... Its your standard African saga wih a rousing climax as the Mau-Mau attack, but better than usual, with John Justin, Earl Cameron, Niall McGuinness and the usual faces, directed by Terence Young who went on to do ZARAK and other trash favourites before helming the first two James Bond epics DR NO and FROM RUSSIA WITH LOVE.

During the Mau Mau Uprising in British Kenya in the 1950s, settler-hunter Ken Duffield is a hired guide for a lion hunting party but he also hopes to find the Mau Mau rebel who killed his family. 
Vic strides through it with his standard expression - whether shooting a rogue elephant or grieving over his son, but Janet is lovely here, just after MY SISTER EILEEN and before reporting to Mexico for TOUCH OF EVIL and then off to Norway for THE VIKINGS ....  Victor went on to dates with that other blonde Anita Ekberg in 2 guilty plreasures we like: INTERPOL and ZARAK, also by Terence Young. 

1958: Touch of Evil, again

The BFI have reissued that super 1958 thriller TOUCH OF EVIL, and with a new trailer:

Orson Welles' influential, magnificently sophisticated and funny take on crime and US/Mexican relations in a border town (maybe the best B-movie ever) provides a masterclass in how to create atmosphere. The camera (lensed by the great Russell Metty) swoops around like a bird of prey on acid. Henry Mancini's music sends us into a frenzy as idealistic Mexican cop Vargas (Heston) goes head to head with corrupt law enforcer Quinlan (a bloated, padded Welles) as he uncovers the seedy corruption around him as Quinlan has his own way of getting results. Cue Janet Leigh menaced in a motel again - by the craziest collection of hoods (including Mecedes McCambridge), and gangly motel guy Dennis Weaver. Orson regulars like Akim Tamiroff are also nicely sleazy here. 

Janet had her arm in a sling but you don't notice as she often has a coat over her arm. Then there's Marlene, with that great closing line .... This is a classic hepped-up '50s noir (along with KISS ME DEADLY and THE BIG COMBO) and has that great long opening sequence as we wait for the bomb in the car to go off. A perfect Abert Zugsmith production. 
Orson was initially hired to act, but who else could have directed it better? He also appeared in THE LONG HOT SUMMER and ROOTS OF HEAVEN and probably spent an hour narrating THE VIKINGS that year, 1958 was busy for them all: Chuck was also in THE BIG COUNTRY and THE BUCCANEER (before heading off for BEN-HUR), while Janet was kept busy with THE VIKINGS and that comedy I liked, THE PERFECT FURLOUGH (see Janet label). Heston & Janet teamed again for this nice shot in 1999 ....   

The annual Psycho re-watch, Rear Window too

PSYCHO continues to be fiendishly re-warchable, in fact one should rewatch it every year, I catch it whenever it is on and get mesmerised all over again, just like I did the first time I saw it, at the time, at my local cinema in Ireland, when I was about 14 (we were able to get into X-cert films there). It remains brilliant on so many levels. Here is what I said about it, last time I wrote about it here:

Now I know PSYCHO inside out over the years but had not actually seen it for maybe 20 years or so, so I was surprised to be so totally involved and stunned by it all over again. 
It is such a rich complex film that draws one in time and time again, this time I noticed how amazing that music score is - its not just all screaming violins, as Herrmann complements the action perfectly. Tony Perkins of course had his defining role as Norman Bates, but so did Janet Leigh as Marion Crane - after all her years as a leading lady this is the role she will be remembered for (as her then husband Curtis will be for Wilder's SOME LIKE IT HOT made around the same time). Never mind the size of the role she should have been a contender for best actress of the year.

Janet has revealed how Hitch called her in, told her he knew she could act and told her what he wanted from her in his camera set-ups and left the creation of the role to her. She certainly delivers here and looks her best - she did get rather emaciated in her later years. This nice photo by Nocoletta Zalaffi is from a 1969 "Sight & Sound" interview where she discusses working with Hitch and Welles among others. The movie of course is famous for other things too: the first time a toilet is seen and flushed in a mainstream movie, and our lovers in that hotel room, frank for that era, with Janet in her bra. Odd too the date in the opening scene is given as December 11th, but there no mention of Christmas at all apart from that one shot as our heroine flees from Phoenix Arixona in her car, to that lone highway, after sleeping in her car all night attracting the interest of that cop ... the music underscores her travel to that motel perfectly;
then that great scene with that strange young man as they talk about birds and the traps they are in and she resolves to get out of hers. Great moments too with the old police chief and Simon Oakland as that psychiatrist at the end compels our attention as the swamp gives up its secrets - those eerie moments too of Norman at the swamp, and that perfect ending.. I like Martin Balsam's Arbogast too with that line "Someone always sees a girl with 40,000 dollars". We are now in the age of 'torture porn' (which I don't bother with) so PSYCHO may seem old-hat to some, but its still as powerful now as when I first saw it .... Hitch of course was the master showman here with his teasing trailer visiting the site of the motel, and those ads, during the era of continuous performances, not letting people in once it had started. Quite right too.  I have always liked Janet, more on her and Hitch at labels. 
For me PSYCHO and Antonioni's L'AVVENTURA usher in the new movie world of the Sixties - both of course are about a woman who disappears and the people looking for her - Hitch shows us what happens, Antonioni doesn't, both are complex masterpieces which repay endless viewing, even if Hitch dismissed PSYCHO as a black comedy he made millions on, as it was shot so cheap and quick like one of his TV shows. 

REAR WINDOW mesmerises too, and is maybe at the top of the Hitchcock canon. Set almost entirely in the two-room apartment of James Stewart's wheelchair-bound photographer this murder mystery is claustrophobic and masterfully controlled, John Michael Hayes script being just perfect, and Hitch creates some iconic images of Stewart with his camera and Grace in another Edith Head wardrobe. "Preview of coming attractions" indeed. She is the spunky heroine here, taking risks by getting into the apartment of the suspected murderer - that whole set of all those apartments is merely stupendous, and Thelma is delicious as ever as the pragmatic nurse, and of course all those people we snoop on in those apartments across the way ...

Its a study in the complex mechanics of voyeurism and desire - subjects close to Hitch - which has kept film theorists busy for decades, particuarly as this and VERTIGO and some others were out of circulation for years - a canny move to whet interest for them. Its also an edge-of-your-seat thriller and a fascinating love story, as we leave Grace's Lisa Fremont settling down with "Vogue" while Jimmy, now with two broken legs, is trapped in that wheelchair ... 
THE TROUBLE WITH HARRY was also on, but I just could not muster much interest in it, and I suppose I have to catch TORN CURTAIN one of these days, the only late Hitch I had no desire in seeing. 

Hitchcock, 2012

HITCHCOCK in 2012 was one I felt I did not need to see at the time, despite our reverence for The Master of Suspense, as per other posts on him here .... but seeing it on television now it proved an amusing time-waster as Anthony Hopkins dons the fat suit and almost becomes the Hitch we know and like. Hitch of course was a canny operator and was the star of his own movies and knew the value of publicity, as per his appearances on his trailers and tv shows and his walk-ons in his films. (I never saw his tv shows, but have discovered a lot are on YouTube, I shall be checking them out!).

In 1959, Alfred Hitchcock and his wife, Alma, are at the top of their creative game as filmmakers amid disquieting insinuations about it being time to retire. To recapture his youth's artistic daring, Alfred decides his next film will adapt the lurid horror novel, Psycho, over everyone's misgivings. Unfortunately, as Alfred self-finances and labors on this film, Alma finally loses patience with his roving eye and controlling habits with his actresses. When an ambitious friend lures her to collaborate on a work of their own, the resulting marital tension colors Alfred's work even as the novel's inspiration haunts his dreams.

This is an amusing fiction on the making of PSYCHO where Hitch left Hollywood stars like Grant and Stewart behind and needed a new Hitchcock blonde - Grace Kelly had retired, he settled on Kim Novak for VERTIGO when Vera Miles, whom he had under contract, withdrew due to pregnancy, he transformed Eva Marie Saint in NORTH BY NORTHWEST and chose Janet Leigh for his Marion Crane. Soon he would have his own new discovery under personal contract to him: Tippi Hedren for THE BIRDS and MARNIE. 

This fiction seems to suggest that Hitch was in trouble after the success of NBNW in 1959 and that Paramount were unwilling to finance PSYCHO so Hitch and his wife and regular collaborator Alma had to mortgage their house to finance it. But as the legend goes he shot the film cheaply in black and white like one of his tv shows and it made him millions. Apart from the film itself the genius was in the advertising campaign, as back in that era of continuous performances, they did not want people to miss the start of the film or to reveal the ending, and Hitch himself did that fascinating trailer. 

So, Hopkins is an adequate Hitch figure and Scarlett Johansson captures the look of Janet Leigh, and Jessica Biel suggests Vera Miles, James D'Arcy though is not quite the Tony Perkins we know and like. Mrs Hitchcock though - Alma - was surely never as glamorous and full on as Helen Mirren here, in her red swimming costume and ritzy outfits - and did she really collaborate with others? such as the Danny Huston character here, thus arousing Hitch's jealousy. Also, there is no mention of Pat Hitchcock, their daughter, who actually appears in PSYCHO, as the other secretary in the office with Marion. A nice touch at the end though as Hitch watches the first audience of the film, mentally conducting that screaming violins soundtrack - and then having to look for his next project, as that bird lands on him ....

It is directed by Sacha Gervasi (me neither) from a Stephen Rebello (co-author of "Bad Movies We Love") book, one of the many on Hitch. There are other books on the making of PSYCHO and Janet Leigh even did one herself showing how detailed that shower murder was story-boarded and filmed, as well as covering it in her autobiography. It is amusing enough for a Hitchcock admirer and much better than that other one THE GIRL on Hitch and Tippi and THE BIRDS ....  Lots more Hitch at label. 

In the mood for summer repeats

Rapture! - In the mood for IN THE MOOD FOR LOVE again ... (as per review last year, 2000s label). 

Our heatwave seems to be finally over, as rain and cooler weather arrive,with that autumn nip in the air already! I won't have to be drinking too many cool Italian lagers or Belgian ciders then .... but we often get a good warm late summer here in the British Isles, and over on the West coast of Ireland, where I spend time too, right on the edge of Europe ...

Meanwhile, those summer repeats keep on coming. I have a stack on recent releases to watch: THE WOLF OF WALL STREET, DALLAS BUYERS CLUB, INSIDE LLEWYN DAVIS, THE GREAT BUDAPEST HOTEL, CAPTAIN PHILLIPS, SAVING MR BANKS, THE GREAT BEAUTY etc. as well as been entranced by Visconti's THE LEOPARD now even more stunning on Blu-ray (see post below), as is Lean's LAWRENCE OF ARABIA, but instead its more repeats of favourites on tv: ROBIN AND MARIAN, Channing's THE EAGLE and boxsets like LOVE/HATE, HOUSE OF CARDS, WHITE COLLAR etc, as well as vintage boxsets on Lee Remick as JENNIE (Churchill) and Francesca Annis as LILLIE (Lily Langtry, which also has Peter Egan as an exquisite Oscar Wilde).. See labels here for more on all these:

ISLAND IN THE SUN was on again, from 1957. Nice to look at, thats a perfect Caribbean island, from that best-selling novel and Fox gave it the plush treatment. I love Joan Fontaine's outfit for meeting her sort of lover Harry Belafonte (Joan received hate mail for appearing in scenes with the handsome Harry, meanwhile it was the other Joan - Collins - who was getting intimate with Belafonte..) but her white gloves and pink pencil halter top dress ensures she looks great; the above is a posed shot - they never touch in the film, apart from where he helps down from the bus ! 

meanwhile starlets Joan Collins and Stephen Boyd romance in the surf and Dorothy Dandridge is marvellous with John Justin (whom I have seen quite a bit lately, in 1943's THE GENTLE SEX and those '70s Ken Russell farragos, as reported below). James Mason is also here, married to Patrica Owens, and he kills Michael Rennie in a fit of jealousy as  policeman John Williams puts two and two together ... delirious stuff, I loved that theme song as a kid.

I can never resist another look at RAIDERS OF THE LOST ARK, now, like BODY HEAT (also scripted by Lawrence Kasdan) one of the key movies of the '80s. It all works perfectly here, from that perfect opening sequence with Alfred Molina to the high-jinks in Nepal before going on to Egypt .... This and Harrison's AIR FORCE ONE may well be my favourite popcorn movies. Amusing touches here too, like the (male) pupil with an apple for teacher .... with Denholm Elliot and Paul Freeman sterling support and Karen Allen as that very spunky heroine.

Two years ago we had a Hitchcock summer here, as the BFI showed all his films, and canonised VERTIGO as the best film of all time, in their "Sight & Sound" magazine (see details at Hitchcock label) - now our Film4 channel starts a 'frightmare' season with PSYCHO and THE BIRDS. I never tire of THE BIRDS and that marvellous interplay between the characters, its a very witty screenplay, Rod Taylor and Tippi Hedren are ideal - particularly as she dials the telephone with her pencil - and Suzanne Pleshette is ace too.

PSYCHO continues to amaze me, one notices new things - the opening titles tell us its December 12th, but the only sign of christmas is one shot showing street decorations as Janet drives out of town, and of course its the first time a toilet was flushed in a mainstream American film! Janet Leigh is simply astounding here, and should surely have been nominated for an Award.....

Our Sky Arts channel has discovered Ingmar Bergman's THE SEVENTH SEAL which they are showing frequently, maybe most people's introduction to those foreign arthouse movies. It has of course been parodied many times, but it still has the power to mesmerise us as Death plays chess with the Knight, and the family of simple folk make their escape - the unforgiving medieval world is essayed here as the young witch is burned and people flagellate themselves to hopefully avoid the Black Death ..... its still a stunning film full of indelible images, even simple shots of the sea and the waves and the rocks have a stark power of their own. On his return from the Crusades, a Swedish knight, Antonius Block (Max Von Sydow in his signature role), is accosted by Death but staves off his demise by challenging him to a game of chess. Ingmar Bergman's best known early film is not all existential gloom. Well, all right, it is, but is alleviated by the film's inventiveness and audaciousness, and Death is hilariously sardonic. Pity the doomed souls being led away at the end, dancing on the skyline .... 

THE ELEPHANT MAN, 1980.  Nothing new to say about this apart from that I was stunned and mesmerised all over again. It has to to be one of the most powerful films ever made and David Lynch’s keeper. All the elements are there: that Victorian industrial background, the stunning black and white photography capturing it all, and the superlative cast – did John Hurt and Anthony Hopkins do anything better?, with sterling support from John Gielgud and Wendy Hiller, not to mention Freddie Jones, and that perfect ending as we clear away our sobs. Its still a key 80s movie.

SUDDENLY LAST SUMMER remains deliriously over the top too, as Katharine Hepburn's Mrs Violet Venable descends in her elevator to persuade doctor Montgomery Clift to lobotomise her niece Elizabeth Taylor to remove what she saw happen to Sebastian last summer .... poor Monty seems to be sleepwalking through this as Taylor (in that white swimsuit which was "a scandal to the jaybirds") and Hepburn go head to head ...

And then a large helping of cheese: GUESS WHO'S COMING TO DINNER .....  I tried to avoid it but looked in before the end. It seemed even worse than I remembered, but how we loved it back in 1967. I remember friends and I going to a late night show at 11pm – not so common in London then! Watching it now one can see all the glaring faults – its shot like a tv sitcom, that house full of art and the view over San Francisco are laughably opulent and fake now, and that ghastly score.

Thankfully I missed that excruciating scene at the drive-in ice cream parlour where Tracy comes across as just old and doddery and annoying. The daughter of course is an airhead, and Dr Prentice (Poitier) seems a living saint and they just have to rush to Geneva as he has to work for the World Health Organisation so both sets of parents have to give their approval right away for their union. The black servant ("part of the family") still has to serve dinner though – and don’t get me started on this wealthy liberal family who are not Catholics, with their pet priest (dear twinkly Cecil Kellaway) who is Irish and likes that whiskey !  But of course one has to see it in the context of its time:  race relations were still very problematic then and this sugar-coated pill (along with Poitier's other hits that year IN THE HEAT OF THE NIGHT (which I loved) and TO SIR WITH LOVE) may have helped things along. At least it revitalised Katharine Hepburn’s career (while her contemporaries were mired in cheap guignol flicks, and Kate was even bigger the next year when THE LION IN WINTER was such a hit, winning her another Oscar) – there she was on the cover of LIFE magazine and standing on her head, as a whole new generation fell in love with her - she had really been off the screen since 1959's SUDDENLY LAST SUMMER, Lumet's LONG DAYS JOURNEY INTO NIGHT in 1962 was not widely seen at the time despite winning awards at Cannes, in fact I didn't see it until the dvd became available). I love her costumes and little hats in this film which she breezes through, particularly the great scene where she fires the art gallery assistant. Like all Kramer’s films of the time, it seems hopelessly overdone now.   below: Visconti's sumptuous 1963 THE LEOPARD, once again.