3 items from 2016
Another release of the Kramer-Foreman-Zinnemann classic gives Savant another chance to make his argument that this supposedly 'liberal' movie is too confused to be anything but political quicksand -- if anything, its statement is bitterly hawkish. High Noon Blu-ray Olive Signature 1952 / B&W / 1:37 flat Academy / 85 min. / Street Date September 20, 2016 / available through the Olive Films website / 39.95 Starring Gary Cooper, Thomas Mitchell, Grace Kelly, Katy Jurado, Lloyd Bridges, Lon Chaney Jr, Harry Morgan, Otto Kruger, Lee Van Cleef. Cinematography Floyd Crosby Production Designer Rudolph Sternad Film Editor Elmo Williams Original Music Dimitri Tiomkin Written by Carl Foreman Produced by Stanley Kramer Directed by Fred Zinnemann
Reviewed by Glenn Erickson
This is my fourth time out with a review of High Noon, starting fourteen years ago with a pretty miserable Artisan DVD, then a Lionsgate 'ultimate edition,' followed by Olive Film's first, quite good Blu-ray. Olive now revisits the 1952 classic as »
- Glenn Erickson
I’m noticing more and more a theme in postwar (especially American) cinema concerning pacifists turning towards violence. A character will introduce him- or herself as someone unable and morally opposed to weapons in general or harming another human being specifically, only to be put in a situation in which violence is presented as the only way out. We’ve covered (at least) two such films on this very website – Shane and Violent Saturday – and, having just seen it, I can add the considerably odd Frank Sinatra vehicle Suddenly to this list.
It’s not hard to see why American filmmakers and moviegoers would be interested in this subject at this time. Many of them had recently returned from war, where they did awful things for a greater good; those who didn’t go to war themselves certainly knew somebody who had. On a much larger scale, the use of »
- Scott Nye
Fixed Bayonets!, 1951.
Directed by Samuel Fuller.
The story of a platoon during the Korean War. One by one Corporal Denno’s superiors are killed until it comes to the point where he must try to take command responsibility.
Here’s a tightly wound ball of suspense with the duality of fatalisms and heroism at the heart. It’s the Korean War and there’s snow up to the knees, and for an hour and half Samuel Fuller puts us amongst the American platoon who have the unenviable task of acting as the rear guard, and fooling the enemy into thinking they are in fact the whole damn regiment; with a little subterfuge, planning, and a whole lot of courage these brave few show us it can be done. Heroes will be made and heroes will be lost. »
- Amie Cranswick
3 items from 2016
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