LA STRADA (1954, ITALY)

La Strada. The English translation is “The Road,” but somehow that doesn’t have the right ring for this film.

Fellini’s La Strada has some of the techniques of the neo-realistic film, but is more polished, has more surrealistic elements and employs mostly professional actors.

After seeing this for the first time just a few hours ago, I'm sure the images of this film will remain vivid to me for sometime. Zampano’s motorcyle van, the shots of the Italian countryside, the traveling circuses, the sick boy that Gelsomina briefly performs for, the fool’s high wire act and many other scenes are memorable. There doesn’t seem to be any wasted moments, movements or shots in this film.

Giulietta Masina’s innocent and not quite mentally all there Gelsomina is mesmerizing. Her character has been compared to Chaplin’s little tramp, but reminded me a bit of Harpo Marx as well. Her repeated line, “The fool is hurt” is certainly reminiscent of King Lear’s “My poor fool is dead,” and is equally tragic.

Gelsomina is a complete contrast to Anthony Quinn’s Zampano, who as the traveling strongman is all brute force with little humanity to go with it. When he finally does show some compassion in the film’s final shot, it is sadly too late.

The fool, played by Richard Basehart, rounds out the film’s main trio.

The language of the two male stars was presumably English and the rest of the cast was Italian and I’m not sure how all the dubbing was worked, but it does work, though I only viewed the Italian language version. I watched one scene of the English dub and my old bias (no dubbed film unless Godzilla is somehow involved) kicked in.

8 ½ and Amacord were two previous Fellini films I saw and truly liked (granted, it’s been a few years), but I may have a new favorite here.

HIGH SIERRA (1941)

“But the fix blew up and a screw put the blast on me.” If you hear a line like this, you know you’re probably watching a Warner Brothers gangster movie from the 30's or 40’s. Ah, when police were coppers, women were dames, men wore snap-brim hats and your only goal in life was to crash out, whether in actuality or just metaphorically.

I watched many of these gangster movies growing up, mostly thanks to Ted Turner’s superstation. I’ve also seen a lot of Humphrey Bogart movies. Yet somehow I missed one of the most famous, High Sierra.

The first thing I noticed about High Sierra is the amount of talent involved. The screenwriters were W. R. Burnett (of the book Little Caesar, which I have actually read) and John Huston (who later became, of course, John Huston.). The director was Raoul Walsh, whose most memorable film might be White Heat (“A copper! I treated you like a brother and you’re nothing but a stinking copper!" or something like that). The cast was headed by Ida Lupino (Whose name I like to use creatively in sentences as in “Don’t go all Ida Lupino on me”). Also of note in the cast is Henry Travers, though it’s very hard to think of him as anything but Clarence Oddbody, angel second class. Willie Best’s performance here would probably make Spike Lee shudder, but Sidney Poitier roles were a generation away and even then were mostly reserved for Sidney Poitier. I’ve also got to mention Pard the dog, played by Zero according to the credits. Sure he brought bad luck, but oh, so cute!

But what this movie is most remembered for is Humphrey Bogart. Relegated to supporting roles as heavies in the 30’s, this film is acknowledged as his breakout role, which led to the more heroic Bogart from The Maltese Falcon and Casablanca.

What’s interesting in High Sierra is that “Mad Dog” Earle represents a kind hybrid between phases of Bogart’s career. Earle is still a criminal, but he still exhibits a soft spot for cripples (his word), yappy dogs and wanting to do his heist by the book even after the man who hires him dies.

I wasn’t sure how to end this blog, so I’ll just type my opening again. “But the fix blew up and a screw put the blast on me.” I’m going to try to bring this line up in conversation whenever the opportunity arises.

HARVEY (1950)

There are a couple of old-timer movie critics on Youtube called the Reel Geezers. Every once in a while I feel the need to make a geezer like observation myself, such as “Movies used to have greater special effects in the old days. It was called a viewer's imagination!”
Take that Transformers!

I remember as a kid watching Harvey, waiting for Elwood Dowd’s imaginary pooka/rabbit to appear. It did through the actions of the actors, though it wasn't necessary (or advisable) for there to be someone there in giant bunny suit.
Take that Howard the Duck!

The play by Mary Chase has had a lot of staying power and can still be seen on stage from time to time, even after 60 plus years. The story of a boyish man in his 40’s who decides “In this world you must be oh so smart or oh so pleasant." Well, for years I was smart. I recommend pleasant.” Well the Peter Pan syndrome certainly has a certian amount of appeal for me.

The film version is memorable, but does have flaws. Peggy Dow and Charles Drake are both pretty bland as the nurse and doctor that try to help Elwood and I’ve always found Jesse White one of the most annoying character actors in movies. Though this film does prove that Jesse (and many other character actors) seemed to be in his 60’s even when he was 30.

On the other hand, Josephine Hull is terrific as the exasperated Veta Louise and Jimmy Stewart gives one of his best performances as Elwood Dowd. He really shows off a gift for being understated, an ability that many in his place couldn’t pull off.

I would never use the phrase feel-good movie, but…Okay just this once: It’s a feel good movie!
Take that Death of a Salesman! (You see Death of a Salesman is really depressing…oh, never mind.)

I just read that Robert Downey Jr. is going to be in Spielberg’s Harvey remake (Not Tom Hanks?) All I can say is, "Robert, you gotta make me see the Pooka. If you make me see the Pooka, the special effect will be greater than any in Iron Man!

THE 400 BLOWS (1959, FRANCE)

The 400 Blows is certainly one of the most famous movies I have never seen. In fact, I’ve never seen a Francois Truffaut film before (Close Encounters of the Third Kind doesn’t count).

Well, now I have.

On the heals of seeing the first Italian Neo-Realism film Open City, it’s interesting to follow that with what is considered the first of the French New Wave films. The former film dealt with literal survival in wartime and the latter film dealt with a different kind of survival, a troubled boy’s dealings with indifferent parents, mean-spirited teachers and a society where the deck is stacked against him.

The 400 Blows left me a little cold at first, but it started to grow on me as it progressed. Antoine’s solo interview with a psychologist/social worker was very moving and the final freeze frame of Antoine’s face is truly an iconic shot that will stay with you. (I have to assume, I only finished watching it 10 minutes ago.)

Truffaut was one of the advocates of the auteur theory, which states (some say overstates) the director as the sole architect of a film. I don’t buy into that much, and you certainly don’t want to mention the auteur theory around writers like William Goldman or Harlan Ellison or they will get more than a little agitated.

I guess the opposite of a Neo-Realism film might be an Esther Williams swimming/musical extravaganza. The opposite of a French New Wave film might be a frothy Rock Hudson-Doris Day romantic comedy. Just an observation.

The commentary on the DVD I saw by film historian Glen Kenny is also recommended. I have liked most commentaries by film historians, but I can’t recall ever really liking a film commentary by an actor. Just another observation.