Classic Date Night?

Why not?

I say forget paying in excess of $10 and then digging even deeper into your pocket for popcorn and candy and soda. Avoid the packs of boisterous teens, bleeping and chatting on cell phones as they snort and surge in restless herds around the contemporary cinema and the gluttonous shopping malls that tend to abut them. If you want to do dinner and a movie with that special someone, I urge you to go out to eat or prepare something nice at one of your home’s, then settle down on a sofa together for a classic movie. It will be cheaper and more rewarding.

In terms of quality, I can assure you, whichever classic film you watch will operate on a mental plain far beyond today's contemporary romantic comedies. The classic will eschew ribald humor, avoid obvious puns and leave a touch of mystery to sexuality and romantic encounters – through what the film does not say or does not show – that is both charming and refreshing. Couples actually had to court and communicate in classic movies because they could not make eyes across an ill-lit dance club, leave together after too many cocktails, peel their clothes off and “hook up” on screen (see Knocked Up et al).

However, I admit it can be difficult to know where to start if you want to do a Classic Date Night. Some people – amazingly and oddly enough – do not like classic films. Others adore classic films and either love or hate certain actors and actresses. And finding films that please both men and women is difficult no matter what era of movies we are talking about. So to help with all this, I offer up five films that are a perfect for any date-night scenario. These are classic crowd-pleasers that everyone should love, regardless of age and relationship status…



They will always have Paris...

 1. Casablanca

Still my favorite film and one that I believe is impossible to dislike. Humphrey Bogart is perfect as the savvy nightclub owner trying to escape from his past and Ingrid Bergman gives a delicately poised performance as the woman unwittingly at the center of a love triangle. Rooted in an incredible setting – Morocco in the early days of World War Two – and chock full of snappy dialogue and complicated moral conundrums, this is a film of many genres. Espionage, politics, war, adventure, romance and comedy – it is all in the film’s perfect screenplay, which is why every generation continues to rediscover this gem. Guys will enjoy this film because of Bogart – he is cynical, cool and forever one step ahead of everyone else – and the wartime setting that forces people in the film to make important decisions about what they stand for and what they are willing to sacrifice. The ladies will appreciate Bogey, too, but they also will swoon for the film’s romanticism and the notion of a joyful but tragic love affair that is hostage to a particular time and place. See immediately if you have not already done so. If you have, watch it again with a partner. As a shared experience, few movies can match it...

Stuck in the middle...

 2. Sabrina

Sometimes derided as a rather formulaic re-imaging of Cinderella, in which the servant girl falls in love with master of the manor, this film surpasses the limitations of its script thanks to the acumen of the actors involved and the skill with which they play off one another. Juxtaposition is, of course, a critical element of comedy, and it has never worked better on the screen than it does in the love triangle depicted here between Audrey Hepburn, William Holden and Humphrey Bogart. The contrast between Hepburn’s smooth femininity and Bogart’s chapped masculinity works particular well, and as an audience, we completely believe these opposites ultimately attract. Guys will like this film because Bogart and Holden are both great and there is a very real examination of a man’s commitment to his family and the unfortunate tension between pursuing happiness in one’s private life and being successful in business. Ladies will enjoy Hepburn because she is Hepburn. The maturation of a young and immature girl who slavishly pursues the wrong man into a confident woman who chooses to be courted by the right kind of man also hits home. Sumptuously filmed, the movie leaves both sexes with the positive message that love is perhaps the only invigorating force capable of provoking radical positive changes within a person stuck in a rut.

Two gals gabbing, only one isn't a gal...

3. Some Like it Hot

A truly scandalous film for its day, Some Like it Hot is a bizarre comedy of errors that chronicles how a pair of friends and musicians –Tony Curtis and Jack Lemmon – must disguise themselves as women in order to avoid being killed by powerful mobsters. Curtis and Lemmon excel as oddly paired friends who are barely able to keep up their disguise once they encounter a certain Marilyn Monroe. The hilarity that ensues when costume changes and forever-shifting stories are called upon to keep the cross-dressing ruse alive verges on wacky, but remains entertaining without drifting into hyperbole. And Curtis doing an intentionally stiff and obvious Cary Grant impression is particularly funny. That everyone in this film is confused about what they want and being misled about who the other characters truly are says something both sweet and ironic about the gamesmanship involved in courting. What – if anything – the film ultimately says about sexuality, I leave for others to decide. Guys will enjoy Monroe. She is sultry and sensationally lurid throughout – and her dresses barely contain her considerable body (has any other actress ever had her sexual presence?). Guys will also enjoy the film’s great humor and the witty repartee between Curtis and Lemmon. Ladies will enjoy Monroe’s unintentional humor and the film’s rollercoaster examination of just how far a man will go to flirt with a pretty woman.

Kelly convinces Stewart to pay attention

4. Rear Window

Most Alfred Hitchcock films make for great date movies, but this effort just beats out North by Northwest to top them all. I chose this because the mystery involving whether a man killed his wife is absolutely enthralling and watching it with someone else and dissecting the scenes is incredibly fun. More to the romantic point, this film – despite all of its loftier themes and tropes – is about a how a pair of opposites – Jimmy Stewart and Grace Kelly – work as a couple. In trying to unravel the picture’s mystery, the audience is afforded an incredibly intimate portrait of two people on the brink of marriage. That only one of them wants to get hitched and neither of the two realizes they are already verbally jousting like an old married couple is one of the film’s great charms. Guys will enjoy this movie because its plot addresses the notion of voyeurism – in particular, the male penchant for looking – and it forces the audience to consider what is normal and what is moral. The ladies will enjoy how Kelly floats almost ethereally across the screen in her scenes and how the film deals with nearly every aspect of love through the various depictions of the apartment complex’s residents. Both sexes will appreciate how cinematic the movie is, with its wonderful dialogue, its incredible set-pieces and the odd but ultimately tender take on courtship.

Tender mercies

5. It Happened One Night

This might be the hardest sell. For starters, it is difficult to find. For seconds, it has all the appearances of being the kind of old movie contemporary audiences avoid (it looks hokey, old and filmed with dubious quality). However, anyone who passes on this film is truly missing out. I first saw this in college in a film class and I can safely say the entire audience of 20-somethings was delighted. Since then, everyone I have shown the film to has responded with similar glee. It is, quite simply, a wonderful picture, full of warmth and charm. Clark Gable’s cynical newsman melts when he encounters naïve heiress Claudette Colbert. The guys will like this picture because Gable is masculine, believable and funny. The girls will enjoy Colbert’s emotional adventure: She runs away from a proscribed and boring existence, has an once-in-a-lifetime trip on the road and falls in love. Everything that Roman Holiday is, it owes to this film. Not to be missed.

Nobody Falls in Love Anymore…

Or at least, not on screen they do.

We live in the age of insufferable romantic comedies, wherein aesthetically pleasing actors and actresses engage in childish antics as they annoy their way toward some kind of emotional and physical connection. Is it love these contemporary celluloid couples finally arrive at after their gaudy comedy of errors careens to a distinctly unremarkable conclusion? Somehow, I doubt it.

This is not to say we expect to go to romantic comedies today and see something completely original.

The cagey among us know there have been too many films, too many plotlines and pickup lines exhausted for that. Indeed, I am not even certain we want originality from this genre. Rather, like the true and tested lover in our lives (or the one we yearn to find), I believe we want our romantic comedies to skillfully repackage everything we know from past experiences in a way that continues to tickle the better bones in our body. But we also want to watch two people actually fall in love. I mean, that is the point, right?

Unfortunately, nobody falls in love in the movies anymore. That something like a hangover or a rot has eroded the genre’s former standards is fairly obvious, if you look for it. The people we watch in movies nowadays meet and hookup. For how long? Who can say? To find two people who appear to be falling in love on film one has to go back to classics like 1934’s It Happened One Night. It is not an easy journey, because there are so many clichés one must get on the other side of, but it is a trip well worth taking.

To be sure, there is something overtly artificial in Frank Capra’s classic about a rich girl who runs away from an unhappy marriage and finds true love in the form of coarse and underclass reporter, but the fantasy behind this setup is much more palatable than the ridiculousness that all too often accompanies the Cinderella-story knockoffs we are forced to endure in today’s theaters. Capra was a skilled craftsman of the highest order, one who knew how to portray human sentiment without sliding down the slope and landing in the land of sentimentality.

In the hands of less talented actors, the relationship between the leads might have devolved into farce, too. But It Happened One Night boasts Clark Gable and Claudette Colbert, both of whom took home little gold statues for performances more than worthy of the accolade. Gable, in particular, is impressive in the way he mixes grandeur and desperation to craft a wholly believable ruffian who stereotypically harbors a hidden idealism built on pride and good will towards his fellow man. That we accept him and accept the almost insane premise that throws the two into each other’s lives is entirely down to the undeniable authenticity of  the pair's interactions. And they are helped in this task by a script that is alive with wit.

You see, people fall in love – real love, not lust or infatuation – by talking to one another. There must be a certain level of shared understanding, a certain level of what I will call deftness and presentation – and, of course, infectious flirtation.  Without a delicate and case-specific combination of all of these, the spark between two people never truly turns to fire. And before you think I have forgotten about the film under review here, let me hasten to point out that It Happened One Night captures exactly what men and women say to another when they are engaged in the benign combat that begins love.

I will make no predictable claims about films being “better” back then. I will only say that writers had to work, in that they had to rhetorically walk around much of the crudeness that pervades – some would say perverts – the romantic comedy genre today. As Sam Wasson said, “wit was the best (and only) way to talk about sex” back then and so we are privy to remarkable conversations that dance around obvious attractions and even better metaphors concerning attraction’s end result.

 

Consider how Gable drapes blankets over a string to separate the couple at night. He blithely calls this the Walls of Jericho. Later, of course, these walls come down. An even more famous scene has Colbert showing a leg to stop a car. The act is hardly noteworthy today, but back then it was both scandalous and sweet, and in terms of the film’s plot, it helps convince Gable that the girl he is falling for really does have some spirit in her. My mind boggles at trying to imagine what a contemporary director would have to come up with to achieve the same effect.

The romantic comedy is dead – or beeping away faintly on life support – these days precisely because the whimsical subtlety and misdirection that makes flirting with a potential significant other so much fun is largely absent. There is goofy hilarity to be sure, but the actors today are not talking to each other the way Gable and Colbert did. And because of that lack of precision in the scripts, the contemporary equivalent of catching a glimpse of that special someone’s leg no longer matters all that much...

Up Scope!

If there is such a thing as a submarine film genre, Run Silent, Run Deep invented it.

The 1958 thriller starring Clark Gable and Burt Lancaster as a pair of World War Two naval officers trying to survive each other’s opposing viewpoints during a cruise in the Pacific is a virtual fountain of all the standard material one finds in nearly every undersea adventure: The tense monotony of the sonar pings, the men staring earnestly at gages or listening to propeller screws in headphones and, of course, the Captain shouting “Clear the bridge – Dive! Dive!”

All of which is a roundabout way of saying that this film, chock full of what would eventually become clichés, very easily could have drifted into awfulness and ended up a mediocre ancestor of bigger and better movies. The fact Run Silent, Run Deep remains irresistibly entertaining and watchable, the fact it more than stands up to the test of time and the very obvious advances in photography and special effects – consider that not one frame of the film was shot underwater – rests on great acting and a smart script that deftly invigorates a rather formulaic plot.

Gable’s performance as a commander who yearns for a chance to revenge himself on the Japanese destroyer that sunk his sub is particularly impressive. There is nothing debonair or effusive here from the man who at one time was called The King of Hollywood. Gable’s portrayal of P.J. Richardson as a desperate man full of grit and silent fury is as pitch perfect as Lancaster’s solemn and stentorian turn as Lieutenant Jim Bledsoe. That the two men are set against each other – Richardson convinced the Navy Board to give him command of the submarine destined for Bledsoe – and then gradually reconciled during the film’s action might be predictable, but it is great fun to watch.

Richardson’s pursuit of the Japanese destroyer is inevitably compared by critics to Ahab’s maniacal pursuit of the whale in Melville’s Moby Dick. Richardson is certainly as single-minded as Ahab. At one point in the film, he barks he “never even thought of failing.” At another he warns his near-mutinous first officer that “this boat has one – and only one – Captain.”

But for all this passion, Richardson eventually realizes when he has gone too far and he allows his ambitions to cool, both of which are distinctly un-Ahab-like. Additionally, Richardson gets his “whale” when Bledsoe allows him to give the order that ultimately sends the Japanese submarine to the bottom of the ocean. Ahab’s chase did not end quite as well.

At just a little more than one and half hours long, this is a taut film that wastes no time on the unnecessary. The script swims along at a wonderful pace that never leaves the viewer dulled or displeased. That it manages to do so without the over-reliance on technology later submarine films would suffer from is a credit to this film’s innovative movie-making and powerful storytelling.

While Run Silent, Run Deep is not destined for dissection in film school, it remains a solid piece of drama that more than outshines similar efforts in more recent years. Put simply, they do not make them like this anymore – and that is a damn shame, if you ask me.