Winds of Fate

I can understand why John Huston decided to make a movie in which Edward G. Robinson and Humphrey Bogart’s powerful personalities are confined to smallish, overcrowded rooms. There is dramatic combustibility in such a tactic. Unable to bully or maneuver their way out of scenes, each man in 1948’s Key Largo is forced to deal with the other. The fact that neither gains the upper hand over the other – that is, prior to the film’s climax – is entirely the point on display here. Trapped in a hotel together, forced to wait out a terrific hurricane that rages just outside the building’s fragile windows, Huston intentionally restricts this pair of hyper-masculine, action-oriented men in order to teach them both a lesson in humility and to remind them that a person’s ability to control their own fate is limited.

Thanks to his guns and his gang, it initially seems like Robinson is completely in control of the film’s plot, but once the hurricane arrives, all bets are off – and Robinson, who is suddenly equally as powerless as the others, knows it. The rotten weather cages the armed and the unarmed alike. Bogart seems to understand this when he growls, “You don't like it, do you (Robinson), the storm? Show it your gun, why don't you? If it doesn't stop, shoot it.”

Of course, Robinson cannot shoot the weather any more than he can plug the people trapped in the hotel with him (he needs all of them for something). The fact the cruel and well-armed gangster is fairly powerless – or has his power limited by things entirely beyond his control – is pivot on which the entire film swings. As for the storm, it is the ultimate illustration of humanity’s powerlessness. It arrives randomly and wreaks equally random destruction – and not just on the hotel buildings.

Robinson as the smug gangster.

Tertiary characters in Key Largo do not fare well and their fates are meted out with almost the same sense of randomness that powers the storm’s creation. Consider, the fate of the two Seminole Indians, enticed to turn themselves in after escaping from prison. They come to the hotel because Lionel Barrymore’s character tells them he will make certain the local authorities deal fairly with them. Both Indians are framed by Robinson for a murder they did not commit and are subsequently gunned down by the local sheriff. The other characters blame the deaths on Robinson’s trickery, which obviously plays an important role. However, Robinson would not even be at the hotel were it not for Key Largo’s geographic location – off the coast of Florida –and the storm that prevents his departure. Thus, an unforeseen confluence of seemingly random events plays a critical role in the fate of the two men.

Of all the characters, Bogart’s cynical war-veteran seems to understand more than most that even matters of life and death are largely chance. Though it is never fully explained, the film strongly suggests that Bogart survived the hard-fighting at Monte Casino and Lauren Bacall’s husband did not through the exercise of sheer luck. This is partly why Bogart rejects the war hero mantle, is willing to ascribe it to the dead husband and arrives at the hotel tired and world weary. For him, Key Largo is literally the end of the road, a way to escape his listless post-war existence on the mainland and to try to start fresh.

His trajectory runs him smack into Robinson, another character interested in a fresh start. Only Robinson is trying to get back to the mainland after being kicked out of America because of his involvement in organized crime during the depression. On opposite sides of the law and on opposite paths, the two men can only glare at one another as they simmer and slowly come to an unhappy boil in the close confines of the hotel. The firecracker interactions between these two titans of studio cinema are a large part of what makes an otherwise straightforward film dramatic and irresistibly interesting.

A pair of tough guys...

This is also the fourth and final film Bogart and Bacall made together. In critical terms, it is the second-best after The Big Sleep. However, in terms of chemistry between the famous husband and wife team, Key Largo is the weakest of the four. Bacall is oddly silent for most of this film. What little acting she is called on to do, she does with her eyes – most of which is quite good, but her plain-Jane routine is a terrible waste of the sultry sexuality we saw in To Have and Have Not, and we cannot help but feel like any actress could have played this rather uninteresting role.

The husband and wife, not sparkling together.

Robinson’s one-time glamorous girlfriend (played by Claire Trevor) is far more exciting.

Trevor’s character was a big deal during the days of prohibition – talented, beautiful, famous and highly sought after. But a life on the run with Robinson has reduced her to a nervous alcoholic, with passable good looks and a shaky voice that is forever scared of its own sound, lest it upset her endlessly irritable partner. When Robinson forces her to sing for some whiskey, she absentmindedly lapses into “Moanin’ Low,” a sad tune whose lyrics describe a woman trapped in an abusive relationship. She begins the song full of gusto, but as the meaning of the words penetrate her addled mind, her performance falls apart under the weight of the realization she is singing about herself. It is terrible moment, portrayed with incredible power by Trevor, who won as Oscar for this performance.

Trevor belts it out.

Trevor is also noteworthy here because she is the only other character than Bogart who is changed by the film’s plot. Backed into a corner and repeatedly reminded of his inability to alter his situation, Bogart frets and fumes and eventually decides that a man has to take advantage of whatever crumbs of opportunity come his way and fight to clear his own path as best he can. In doing so, he seemingly rejects the attractive logic of pragmatism and offers up that humanity’s destiny should be shaped by more than the sum of any equation: “When your head says one thing and your whole life says another, your head always loses,” he concludes. Trevor agrees, and for the first time in what must be a long time, she begins to push back against Robinson and work within her own opportunities to shape the outcomes of her fate.

All does not end well for everyone in this tale that no one seems in control of, but by pushing back, a few of these characters learn how to resist the winds of fate as much as possible. Huston's overall message seems to be that life is random, tough and unfair, a set of circumstances that makes the "pushing" all the more important. Bogart says he fought the war to rid the world of men like Robinson's character. At the end of the movie, Bogey is still fighting, and his decision to do so is invigorating. In between, the powerlessness experienced by everyone in the hotel is palpable and humbling, and the randomness of events is terrifying. We cannot control everything, the hurricane seems to be saying with every rattle of the windows, but a person should be ready to act in the moments when they can control some small thing...

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.

Everybody Wants Something

With a title like The Asphalt Jungle, little is left to the imagination in terms of what this 1950 film noir is ultimately trying to convey. And if you had any doubts, they are quickly erased during this tour of America’s post-war urban landscape, in which the unnamed city is portrayed as a seedy and dangerous place, populated by a criminal element that operates well beyond established norms.

Within the city’s criminal community, social Darwinism functions in a kind of kill or be killed, rob or be robbed, fleece or be fleeced fashion. A person is allowed to keep as much or as little as they can hold onto. This sort of movie can very quickly devolve into cliché, so thankfully John Huston and Ben Maddow’s screenplay is clever enough to realize that crimes have motives and the criminals who commit illegal acts usually want something beyond the loot (IE – their behavior and crimes are a means to an end, not ends in and of themselves).

Each of the characters in this picture are presented as deeply complex people, all of whom are angling to get something. In some cases, the aims are nobler than others. Sterling Hayden is driven – almost single-mindedly – by the urge to secure enough money to repurchase his family’s lost horse farm back in Kentucky. He willingly joins in the film’s robbery plot, confident it will land him the cash he needs to turn his dream into reality. Sam Jaffe, the man who masterminds the caper, is much less idealistic: “One way or another, we all work for our vices,” he quips at one point.

In the case of Louis Calhern’s character, his vice saunters onto screen in the form of a certain Marilyn Monroe. Much is made of Monroe’s appearance here, but little of the unique combination of glamour, titillation and humor that would later translate into a white hot presence on screen is apparent in this outing. She is simply the “other woman” in a movie that devotes a great deal of time and energy to asking a pretty typical film noir question: Why do men make bad choices?

An early glimpse at a star

In the end, the answer boils down to the original metaphor. That is, like the creatures of the actual jungle, the civilized men living in The Asphalt Jungle’s metropolitan city often operate under the twin impulses of self-interest and self-preservation. To continue following this metaphor, the complicated web of allegiances and desires that forces the characters together and drives the plot are an emotional ecosystem that functions in similar fashion to the food chain in the wild. Bookies, crooked lawyers, policeman and blond bombshells – they all have a role to play in the concrete state of nature explored in this picture, and much of that role depends on how other people play their equally important parts.

In it together, for their own reasons

Faced with the rotten fruit of this reality, the city’s Police Commissioner offers this piece of lofty rhetoric to the audience:

“People are being cheated, robbed, murdered, raped. And that goes on 24 hours a day, every day in the year. And that's not exceptional, that's usual. It's the same in every city in the modern world. But suppose we had no police force, good or bad. Suppose we had... just silence. Nobody to listen, nobody to answer. The battle's finished. The jungle wins. The predatory beasts take over.”

There is a sense of desperation in these words that feels right, but ultimately I believe the film’s central heist is a vehicle to explore how the state of nature described by the commissioner is ultimately amoral and random (like a society of animals in a real jungle). After all, the police do nothing to foil robbery or prevent its execution (the institution of the police itself is depicted as corrupt and self-interested). The cops merely stumble across the crime by accident – the random discharge of a gun alerts them – and then swoop in to try to clean up the mess after it has already been made. In this sense, they are little more than janitors who sweep away the proverbial mess that occurs when a lion encounters an antelope, and the difference between the jungle of vines and trees and the jungle made of concrete boils down to the fact that the latter cares about appearances – some would say the illusion of order – while the former unconsciously embraces the chaos and untidiness of existence.

Dead within sight of his dream

This is not Huston’s best film – not by a long shot. However, what we have here is classic – in the sense it inspired a host of other films and television programs – and compelling. The plight of the film’s intertwined fates is intricate and interesting, and the ultimate futility the picture’s final scene leaves audiences with is both profound and disturbing. The world is ugly and chaotic, the movie seems to say, and the ardent are damned along with the capricious. The metaphor of the jungle might be somewhat clumsily used in the picture, but it feels right nonetheless.

Bandaged and Born Again

Depending on whom you speak to, 1947’s Dark Passage is either foolishly “overlooked” or appropriately “forgotten.”

Not liking such critical absolutes, I would choose something between these two poles of opinion, though if forced to choose a side, I would lean toward the latter – and less flattering – of the two judgments. Humphrey Bogart and Lauren Bacall, the real-life couple who generally shine and sizzle in just about any film they appear, cannot rescue this workmanlike film noir.

Considering the genre we are dealing with, I was fully prepared for an opaque and bleak finale, but much to my surprise, Bogart and Bacall emerge from the rather straightforward prison-break plot relatively unscathed. When we last see them they are on a terrace overlooking a South America beach, gently swaying in each other’s arms – an art-imitating-life conclusion that feels like the result of a studio executive who made his intentions known by scrawling on the film’s screenplay draft: “B&B MUST end up happily ever after.”

Champions of the film point to its nifty camerawork and lasting influence on other directors – both of which provoke a resigned shrug from this particular viewer.

San Franciso on display

The decision by director Delmer Daves to film the first hour or so almost entirely from Bogart’s perspective – that is, with the camera literally functioning as his “eyes” – is not something one comes across that often (Lady in the Lake tried – and largely failed – to pull of the same feat for the length of an entire picture). Undoubtedly, it is a brave and innovative move, but it also robs the film of one of its best qualities – Bogart – for almost half its running time. At the same time, I have to wonder if the director really needs to spend as much time as he does showing us what it looks like to conduct the mundane business of existence – walking, entering an elevator, shaving, etc. – from his protagonist’s perspective. It is many things, but interesting is not one of them, and the end result is the audience feels trapped inside a film school gimmick that does not end as quickly and as neatly as it should.

In the meantime, though, we do get to look at Bacall.

In relative terms, she is not nearly as racy or openly suggestive in this role as she is elsewhere. Indeed, she is so demure she seems almost de-clawed. Her ticket into the action is initially presented as circumstantial – she happens to be painting nearby the place Bogart runs to when he escapes from San Quentin prison. However, during the course of the film, it is revealed she faithfully attended Bogey’s murder trial and believes he was falsely convicted for killing his wife with an ashtray. Bacall sympathizes with Bogart and aids his escape by spiriting him straight to her apartment in downtown San Francisco.

If this seems odd, that is because it is. Bacall is clearly presented as the mixed-up type who today would be caught by her friends writing letters to convicted men in the hope of marrying one of them while he was incarcerated. She is, in other words, fairly creepy despite her tame and domesticated pose. Bacall’s character also relates to Bogey because she claims her father was wrongly imprisoned by her stepmother, and thus the relationship that develops on-screen between her and her real-life husband works as a kind of Cassandra-complex run amuck, in which she replaces her departed dad with another older man.

The obvious villain

The third peg in the plot is a busybody named Madge Rapf. It was Rapf’s testimony that put Bogart behind bars, and when Rapf begins showing up around Bacall’s place, he fears the worst. This leads him to accept an offer – made by the world’s oddest and most helpful cabbie – to allow a back-alley doctor to alter his face. The result is Bogart is given a new lease on life – and a chance to resolve the plot’s pair of dangling mysteries – through a new look, although the anonymity he hoped for proves oddly elusive.

There is not much else to assess here. Clearly, this is a film about characters that are not in control of their lives – and what is worse, they know it. The decisions by Bogart and Bacall to simply take what comes and respond to it as best as possible is a powerful example of the brand of stoicism often celebrated in film noir. That fact everything ultimately works out in the end for both characters is distinctly out of step with accepted noir tropes. There is no bloody finale and no downer-ending depicting the futility of it all.

Instead, the audience is treated to a moody, almost surreal San Francisco, populated by odd characters, fog horns and sweeping vistas. It is a delight to watch, but the claim some critics make that this picture is a Kafka-like nightmare, in which an innocent man stumbles through a plot he is incapable of influencing, seems a bit much. There are some quirky moments to be sure, but if there is a metaphor here, it involves the notion of rebirth.

Both Bogart and Bacall are looking to build new lives on top of old ones that are riddled with error or regret. The title itself could refer to the inevitably violent transition a baby makes from the womb, through the birth canal to the light of the outer world. When the bandages come off Bogey’s face, he is helpless and has to be mothered by Bacall for a week’s time. He must suck his nourishment through a straw the same way a baby feeds from an umbilical cord.

Or maybe I am reading too much into all this and looking for greatness in a simplistic movie about a guy on the run from the law?

Regardless, there is neither enough metaphor nor simplicity to make this film stand taller than the name of the stars on its marquee. The villain is too obvious, the mysteries dangled too meager and the final product in no way reflects the quality of the constituent parts, all of which is a longwinded way of saying that this film is ultimately forgettable, even if parts of it are likeable.

Five Classic Spy Films

To be a voyeur, to peak at a private world not your own is a fundamental part of reading a book or going to see a movie or play. As a reader or an audience member, you are, for a time, permitted to survey that which is typically hidden from you during your everyday life. The only way you can learn about actual people as much as you learn about characters in fiction is by spying on them. Perhaps this is why spies and their genre films have such a visceral pull for audiences. Add sex, lies and state secrets to the essential urge people have for observation and understanding and you have a potent mix for highly emotional drama, in which the best and worst of human nature competes for stakes that are both fantastic and accessible.

Detective stories and the Westerns dominated the early days of film, but tension surrounding two world wars gave legs to a new kind of genre film: The spy film, which began with Fritz Lang’s Spies in 1928, came into its own during the 1930s when Alfred Hitchcock began to make a number of films concerning what many call the world’s second oldest profession. The slew of combat dramas produced by the Second World War were ill-suited for the Colder, much more difficult to understand conflict that followed in its wake. The spy film became the only vehicle to explore the complex, deadly and worldwide game between NATO and the Warsaw Pact.

But for all these grand notions of chronicling an era, the best spy films have always heavily relied on depicting some aspect of the emotional drudgery that accompanies the business itself. Like politics, spying is both awful and noble at the same time. It involves lying, manipulation and exploitation. It also serves the cause of truth – and fewer holier aims exist. As such, the best spy films are the ones in which an important unknown is chased by band of flawed individuals, each trying to get the best of the other.

Sounds a lot like life, doesn’t it?  

1. The Spy Who Came in From the Cold

It is not often a great novel becomes a great film, but John le Carre’s classic tome is translated near-perfectly onto the screen in this 1965 film. Richard Burton plays British spy Alec Leamas, a cynical and hardened Cold Warrior who has just seen his entire network of operatives uncovered and executed by the East German Stasi. Sent home in disgrace, Leamas is quickly recruited for one last mission, one in which he is promised revenge against the German responsible for the death of his network. Leamas agrees and allows himself to be recruited by the other side in order to sow confusion there, but unknown to both him and the audience, a larger, more sinister game is being played and Leamas is nothing more than a pawn.

Who is playing who?

Shot in black-and-white, the film oozes atmosphere and functions almost as a film noir. The famous twist at the end, along with Leamas’s resigned decision to quit trying and “come in from the cold,” are unforeseen and haunting, as is Leamas’s dark assessment of his profession and its dehumanizing elements: “What do you think spies are? They are a bunch of seedy squalid bastards like me, little drunkards, queers, henpecked husbands ...” Not to be missed.

2. Notorious

Hitchcock probably made more spy films than any other director. His best is 1946’s Notorious, one of his less well-known efforts. It is a beautiful picture, filmed in elegant settings with glamorous people. But set amongst this splendor is a gritty tale of espionage that captures the complicated relationship between a spy (Cary Grant) and his agent (Ingrid Bergman) better than any other film. Throughout, Grant coldly takes advantage of Bergman’s alcoholism and neuroses in order to get her to spy on an old boyfriend, a man associating with Nazis in Argentina who are up to no good.

Running an agent, cooly...

When the boyfriend (Claude Rains) proposes marriage to Bergman, Grant ignores his own feelings for her and pushes her into the arrangement, knowing it will enable her to feed him better information. The strain of a double-life – faking love and using sex to gain access to secrets – is delicately and expertly portrayed by Bergman. There are several wonderful sequences in the movie and an incredible amount of tension, but it is unabashed realism of Grant and Bergman’s partnership that stands out.

3. The Third Man

Not a straightforward spy film, but spies and espionage abound in this moody expose of post-war Vienna that explores the darkest extremes of human tendencies. Joseph Cotton plays a man who is summoned to work with a friend in the city and arrives to find him dead. Exactly what this friend did for a living and how he died are both shrouded in mystery. All of the people Cotton encounters in this distorted version of Vienna are more than what they initially seem and none of them want him to look too closely at what has happened. Beautifully filmed with a haunting soundtrack an incredible cameo by Orson Welles, this tale is chock full of seediness, intrigue and double-dealing, but we remember it ultimately for what it has to say about human nature and the lies people often tell themselves to excuse the things they do. For a full review of the film, click
here.

4. From Russia with Love

James Bond films do not depict espionage well. Bond is much too extroverted and his methods far too clumsy and action-oriented for real spooks, but not having an entry from perhaps the most famous spy in the world would make for a pretty poor list. Although it is not my favorite Bond, 1963’s From Russia with Love is certainly the best, in terms of plot and actual espionage. Free from the special effects, gadgets and spectacularly absurd antagonists that came to dominate the franchise (as well as make it so easy to parody), this outing sees 007 lured into a Cold War mission to acquire a code-machine under false pretenses.

Incredibly shapely women means it's a Bond flick...

In reality, the international terrorist group SPECTRE is dangling the machine in order to bring Bond into the open so the organization’s assassin can kill him. Along the way, 007 navigates through the nest of intrigue that is post-war Istanbul and encounters a KGB-trained honey pot sent to seduce him with the charms of her considerable body. It all ends in a delicious cat-and-mouse game between Bond and his assailant, an excellent chase scene and a frightening attack from a hag with a knife hidden in her shoe. Who could ask for more, really?

5. Where Eagles Dare

Another Richard Burton outing, this one supposedly filmed so his son could enjoy a “boy’s adventure” film about the War. As far as that goes, this 1968 effort does not disappoint. The 2 ½ hour running time sprints by, thanks to a delightful cacophony of quirky dialogue intermixed heavy doses of intrigue and machine gun fire, most of which is provided by a certain Clint Eastwood. The plot centers on a mission to rescue an American General being held captive in a mountain fortress by Nazis, but this is little more than a springboard for the whirlwind that follows.

Getting ready to kill Nazis

Given the high body count and action-oriented climax, some would call this a straight war film, but I am sticking with the spy genre. Burton’s real purpose for storming the aforementioned castle is to pull off a complex counterintelligence coup, only half of which makes sense the first time it is revealed. The end of the film sets the stage for more Burton/Eastwood sequels. My heart cries that none were made, although perhaps it is for the best. What we have here is pretty damn entertaining – and as I already suggested, it is not all lowbrow stuff, either. One of my favorite films, even if I know I should not revel in its simple complexity as much as I do. This is Indiana Jones meets James Bond and it is nearly perfect.

To Banish Evil, One Must Choose Good

At first glance, Alfred Hitchcock’s Shadow of a Doubt is an underwhelming film.

There is nothing in this 1943 effort that matches the director’s murderous shower scene, his flocks of deadly birds or the dramatic confrontation he staged on the stony precipice of Mount Rushmore. Perhaps this is why Pauline Kael wrote the film “isn’t as much fun” as the director’s more ostentatious efforts?

In spite of overt simplicity, Shadow of a Doubt is a remarkable film, one in which a frenzy of psychological activity quivers just beneath the surface and every scene is carefully crafted so that it enhances the greatness of the whole. Hitchcock himself said this is the best picture he made in America – and he may very well be right. So far as I can tell, everything in this film is working exactly as it should, and I can think of no other Hitchcock picture that deals with good and evil as frankly and as poignantly as this one.

It is very easy, of course, to depict evil in its most perverse and grandiose forms.

One need look no further than the James Bond franchise, with is deformed and egoistical madmen, each bent on annihilating something for nothing other reason than to enhance their own sense of self, to see what I am talking about. Nazism and its adherents is another Hollywood favorite – for who among us cannot sneer at the evil Germans and root for their failure? Real evil, the kind of criminal evil each of us stands a greater chance of encountering, is much more mundane, much harder to detect. In Shadow of a Doubt, evil does not lurch onto screen, ugly and scarred and cackling so we know to pay attention to it. Instead, it is quietly invited into the picture’s plot, and for a great deal of time, we are not even certain it is there.

Joseph Cotten as the banal killer.

The inevitable struggle that follows takes place largely inside the mind of Charlie Newton, the film’s youthful protagonist. At the beginning of the picture, Newton is bored with her life in idyllic Santa Rosa and yearns for excitement. In this, she is not alone. Charlie’s father and the family’s next door neighbor are working stiffs who seem incapable of engaging in anything like fun. The pair’s solitary flash of spontaneity and leisure comes when they engage in a macabre verbal game, in which they describe how they will kill each other and then fix it so the police never discover the crime. This foolishness, fired by an overconsumption of mystery novels, also serves to illustrate the innocence of existence in Eden-like Santa Rosa. Actual murderers, intent on committing real murders, could never dwell in such a tranquil place.

When word reaches Charlie’s family that Uncle Charlie is poised to pay an unexpected visit, everyone believes the pivot away from the mundane they were all looking for has finally arrived and life will perk up. The arrival of Uncle Charlie does indeed spice things up, but not in the way anyone intended. Charlie is secretly informed by two private investigators that Uncle Charlie is one of a handful of men suspected of being the “Merry Widow Murderer,” a serial killer who seduces, murders and then robs wealthy widows.

Ominous arrival.

At first, Charlie refuses to consider the idea. At work here is not only familial loyalty, but Charlie’s shared similarities with her uncle. Throughout the film, the two Charlie’s are presented as doppelgangers, in that both carry the same name, the same genes and seem to share a distinct unease with slow-paced suburban living. Uncle Charlie sees much of the same disquiet that drove him from Santa Rosa in his niece, while Charlie correspondingly views her Uncle as something of a sophisticated and well-traveled man of the world. If she shares the same personality as him, the same proclivities and tastes, then the fact her Uncle became a killer is a kind of indictment of her as well.

For his part, Uncle Charlie seems fairly harmless until he tips his hand at dinner one night with a rambling rant about widows being fat animals who deserve to be slaughtered. The remarks are completely shrugged off by the family, but Charlie knows exactly what her Uncle is talking about, and from that point on, the cat-and-mouse game played between the two becomes the film’s dramatic heart. But in order to best her Uncle, Charlie must fully open her eyes and shed her childish naiveté, a point her Uncle makes when he accuses her of being no different than the innocent townspeople in Santa Rosa:

"You go through your ordinary little day, and at night you sleep your untroubled ordinary little sleep, filled with peaceful stupid dreams. And I brought you nightmares. Or did I? Or was it a silly, inexpert little lie? You live in a dream. You're a sleepwalker, blind. How do you know what the world is like? Do you know the world is a foul sty? Do you know, if you rip off the fronts of houses, you'd find swine? The world's a hell. What does it matter what happens in it?"

As I have already suggested, Charlie shares part of her Uncle’s unsettledness and therefore is less surprised by his shocking – but ultimately banal – turn to evil. Charlie is the lone character capable of understanding what the people of Santa Rosa cannot (the only other people in the film who know the truth about Uncle Charlie are detectives who come from the city). In this sense, the film is something of a Bildungsroman, in that Charlie leaves her childhood and matures into an adult during the film’s events. As Paul Duncan notes, she begins the film in a dress and ends the film in a suit. Along the way, she must face down disturbing truths and choose to follow her own nature (and in doing so, wind up like her Uncle) or reject it and help protect the innocent folks around her.

Two sides of the same coin...

That Charlie not only vanquishes the evil in everyone’s midst but then chooses to prevent their knowledge of it by never revealing her Uncle’s deeds is illustrative of both her ultimate choice and her commitment to it. Charlie has left childhood behind, faced the realities of the world and chosen to function as one of the often overlooked and underappreciated guardians who keep places like Santa Rosa free from harm: Good has triumphed over evil – and all because a girl had the strength to ignore her own inclinations and do what is right.

The power of the above is made even greater by this film’s subtle astuteness. There is no proselytizing, no blaze of holy glory. Accordingly, among the Hitchcock cannon, this gem should never be forgotten, overlooked or ignored in favor of its more flashy cousins. Watch it and be amazed. Then watch it again and be even more amazed at how much cleverer the entire enterprise becomes once you know what comes next. Like a well-made piano, all of the requisite parts here are expertly crafted and carefully assembled, so that when the plot calls for a particular key to be struck, the notes sing out, pitch-perfect and resonate for precisely the right amount of time.

Fool's Gold (Learning What Really Matters in Life)

Greed is certainly an interesting topic, given the recent collapse of the world economy due to what Gordon Gecko notoriously deemed “good” in the contemporary classic Wall Street.

John Huston’s The Treasure of the Sierra Madre may be separated from Wall Street by more than 40 years of filmmaking, but the former’s depiction of how wealth can pervert human personality is equally as powerful as Oliver Stone’s tome to excess (a movie which ironically encouraged a generation of filmgoers to want to become stockbrokers).

I doubt anyone can watch The Treasure of the Sierra Madre and walk away with a strong desire to take up a pick and shovel and go gold-mining. The audience’s lack of enthusiasm has plenty to do with gold-mining being antiquated and back-breaking work, of course, but I suspect part of the reluctance stems from the film’s depiction of the incredible amount of violence that surrounded the trade. In the dusty and desolate landscape Huston paints, finding and then mining the gold is only half the battle.

Along the way, you have to take pains to disguise what it is you are actually doing – lest the government or some other prospector swoop down – and you have to forever be on the lookout for being robbed by your fellow miners. Then, having successfully mined the substance, you have to transport your gold across a godforsaken land populated almost entirely by bandits and Indians, all of whom are more than willing to knock you on the head and to take away your hard-earned stash.

Paydirt

As interested in these physical rigors as the film is, the real meat of Huston’s efforts comes when the movie focuses on how the sudden acquisition of wealth fosters a dangerous kind of paranoia and desperation that can eventually compel good people to commit violence.

Even more to the point, the film essentially argues “honor” among coworkers and friends is little better than that among thieves – if gold is involved somewhere in the equation. This is due primarily to the emotional qualities gold possesses for those who seek it.

Gold is a means to an end, a kind of cipher, in which “gold” stands in for whatever larger dreams a man may have. Thus, when Humphrey Bogart’s character talks about dreaming “about piles of gold getting bigger and bigger and bigger” it is not the gold he is really thinking of, but all the pleasures the metal can provide. Such is the power and attraction of the dream fulfillment gold promises, as long as “there's no find, the noble brotherhood (between men) will last. … But when the piles of gold begin to grow... that’s when the trouble starts.”

Our main prism for the trouble is the aforementioned Bogart.

When the film opens, the normally classy Bogie is so down and out he physically yearns for a cigarette a man has nonchalantly tossed on the street. Desperate and almost without pride, Bogie makes an attempt to grab the still-smoldering bud, only to lose out to a street urchin. Eventually, he meets up and forms a kind of hobo partnership with Tim Holt, but the alliance fails to alter their luck. Both men are taken advantage of by an unscrupulous contractor who recruits them to do back-breaking work and then fails to pay. When the pair eventually stumbles across the man who owes them the money, they beat him savagely – but crucially, they only take what cash is owed them, and no more.

They decide to try their hand at gold mining after they come across a kooky old man – played by Walter Huston, the director’s father – who has been in the business all his life. The old man seems to have a feel for how the expedition might turn out, but he goes along anyway because for him the act of mining is an end in and of itself (whereas Bogart and Holt want to strike it rich).

The fun does not really get started until the men strike gold. From that point on, Bogart’s greed-driven descent into paranoia is something to behold. He mutters to himself expertly, sweats and exhibits the incredible physical picture of a man no longer in control of his own thoughts or emotions. No assurance is enough for him as the world becomes a darker and more dangerous place (now that he has something to horde and protect). Such is the power of Bogart’s performance, when he robs his partners and leaves one for dead, the audience is unsurprised and shocked at the same time.

Mad with Fever...

Having metaphorically lost his head for gold, Bogart is eventually decapitated by bandits within sight of his final destination. Ironically, the bandits who kill him care little for material wealth. The act of thieving and stealing is an end unto itself for them. So little are they interested in valuables, they do not recognize Bogart’s gold when they discover it and they let the precious powder scatter in the wind (they are only interested in selling Bogart’s mules to buy more guns so they can commit more robberies).

The bandits’ endless cycle of violence is less greedy than the miners’ perpetual quest for wealth, but it is no more purposeful. Well before the trio set out to Sierra Madre, the old man makes it clear he has struck it rich many times before, only to lose it all and begin the process over again. Bogart and Holt ignore this insight, convinced they are powerful enough to avoid repeating the same mistake. They are wrong, and what the film seems to be saying about their incorrectness is that anyone who ties themselves to a purpose no bigger than themselves is doomed to eke out a life in which the selfish cycle never ends – and consequently happiness never arrives.

Ending conflict means establishing familial ties

In contrast, there is a beginning, a middle and end to family life, and this, albeit very subtlety, seems to be the only bit of hope the film dangles in front of an audience who has just witnessed the worst of what human psychology has to offer. The old man shrugs off the loss of his gold and chooses to live out his twilight days among the local Indian village, where presumably he will take a wife and settle into his role as the physician. In similar fashion, Holt will go to Texas, where it is strongly implied he will take up with the wife of the prospector who died defending the trio’s mining camp. The survivors of this tale of greed, in other words, are all men who chose to settle down, begin a family and live a life of steady occupation and reward.

In that sense, this film is blindly simplistic and fairly predictable.

Greed is bad. The iniquitous meet an ugly kind of frontier justice. Those who understood the ill effects of gold eventually sought to regulate their appetites and establish a more simple – and safe – way of life. Reality, of course, is much more complicated than this, much more upside down. But this film is not about reality. For all its grit and grime, this is a fairy tale of a movie – a lopsided and ugly one, to be sure, but a fairy tale nonetheless. And as such, it is a towering achievement that leaves the audience with a profound sense of insight at its conclusion.

I suspect if you showed this film to the men in gray suits who routinely plunder the markets from their corporate towers, they would chortle at the naiveté located at the picture’s heart. In the world of Wall Street, more often than not, the paranoid and greedy Bogart’s win, and the spoils of their twisted labor do not idly blow away in the winds of fate. If life were more like the movies, we would not have to live with the results of such morally bankrupt calculations.