Movies Posts Tagged as '1950s'
Welcome to Errattic! We encourage you to customize the type of information you see here by clicking the Preferences link on the top of this page.
A grand illusion envisioned by perfectionists. Bergman contains her judgment and allows history to determine as Brynner showcases the array of his Jedi talent. The film commits to its deception. 24-Sep-2018
Mr. Imperium (1951)
Ezio Pinza strums his tenor and grandpapi squish as Lana sweeps hard diamond glamour. Together they only add up to mellow dexterity. 26-Jun-2018
Star, The (1952)
Bette is on full and Sterling Hayden knows how to put a woman to bed. 07-Feb-2018
All the elements for a classic are obsessively arranged, detailed and masterly stroked. The camera is infatuated with its subject and leading lady radiance but something seems amiss. James Stewart's weary everyday man and all-around good guy subbed for Hitch's trippy mentality when the story could have been energized by a man who easily slips into his pants, not one who needs them ironed first. 03-Jan-2018
Journey to the Center of the Earth (1959)
Mason implements arrogance to the professor whilst Boone plus Ronson saunter their commodities and Arlene Dahl inhabits feminist grace.
The film manages to sneak song into the adventure and it doesn't wither. The effects were an outline for better but the handcraft marvels.
It's not a jet but it doesn't move like a helicopter either. Nice pastime. 02-Nov-2017
Baby Doll (1956)
Baby Doll is not a child but a 19 year old bride to a man who bought her. Her only power is sex and her unwillingness to depart with it until her 20th b'day. A battle ensues between men that present her with the opportunity to dish it to the highest bidder.
Tennessee creates strong women whose vulnerability lies with the man who takes it. Baby Doll grows up but the system is incapable of providing her self sufficiency.
Williams is still a master of blatant provocation as Kazan is compelled to art.
Baker is raw talent with Grade A movie star presence. Wallach is gripped masher. Karl Malden plays the husband like the insecure man who has to buy love in a very expensive world. Mildred Dunnock's character power is stupidity because if the men notice her they'd be displeased. Ms. Dunnock is given a moment to showcase and she doesn't disappoint. I felt the burnout.
Like all big dick contests, one cock wins, it spirals into violence as white man burdens the town with his privilege.
The author decided not to cap it with a conclusion because we get to decide it.
I was watching a part of history that is no longer applicable because the men in our present, would like to revert to that.
Heavy on costume and design. Bombastic in role-play melodrama and blatant bitchery. 19-Sep-2017
A Life of Her Own (1950)
Lana's star is on full and uninhibited. The career ascension exceeded the love triangle but Cuckor made "handicap guilt trip" persuasive. The lady chooses her end befittingly. 12-Jul-2017
Brothers Karamazov, The (1958)
Its stuffed with Russian history, parental wrangle, sibling rivalry and strapping expectations. Maria Schell presents nobility of heart as Claire Bloom revels in vindictiveness. Of the four brothers, Shatner stands out as taking pious literally and to the tip while Yul allows us to mark how a scoundrel becomes a man because of unstable family formations, instinctive wildness and repercussions. It may be preachy but Brynner never lets up constructing a complete performance worth basking in. 12-May-2017
Virgin Queen, The (1955)
Splendiferous in costume and design. Richard Todd is prideful of his macho stance and Bette is off. She adds so many ticks to this queen that it feels she's doing an imitation of herself. Well done but lacking. 06-Apr-2017
Catered Affair, The (1956)
It takes a few scenes before you get accustomed to Bette's accent but once it happens you are converted and transported by an actress who rarely took anything for granted and whose talent was just as big as her persona. Debbie Reynolds sparkles beautifully as the conflicted daughter and Borgnine epitomizes the tired working man of his era. The script keeps the action minimal and the truth scathing whilst Richard Brooks gives us the setting then points his camera towards the actors who make the story gust. It has become a past delicacy that is now a new favorite. 24-Mar-2017
Bad and the Beautiful, The (1952)
Almost everything in the production is solidly presented. The performers, esp. Douglas and Pidgeon command their parts, the writing rouses intelligently and provocatively and Minelli has a keen eye for making things and Lana Turner pop. Splitting the movie into three narratives spoils any momentum because the audience is tasked with starting over with a new protagonist. It's an old-fashioned take on Hollywood by Hollywood with a slap on the wrist when it needed to punch us in the face. 22-Mar-2017
Rear Window (1954)
Perfection in moviemaking proliferates from a director who embraced the simplicity of cinema. He never made it difficult for us to understand to seem smarter. Hitchcock utilizes the camera as an unseen dominance that can manipulate the story, the characters and the mood. Details are abundant as the nuances of its leads, Stewart, Kelly & Ritter unite and triumph as they unveil them. A man who never feared a moving camera is a director that inspires art. The missteps we are blind to because the art shimmers emphatically. 06-Mar-2017
King and I, The (1956)
At start my feet were in and then out but by end they were cemented. The children intro was exhausting and an excuse to waste time. Deborah Kerr seemed to be screaming her lines to an unknown audience in the balcony. Kickass Yul was also blaring and posing distractedly. The sets though incredible never lifted me pass the stage and I believe that was the point. We were watching an expensive and well crafted play. What is incomprehensible in the beginning gels at the end with Brynner totally in command and Kerr adding a voice he needed to hear. The ending should have had a better build up but it doesn't stop the production from soaring and the creativity floating. 26-Feb-2017
A Streetcar Named Desire (1951)
Brando's Stanley Kowalski is an untamed, searing bully breeder. Leigh's Blanche DuBois is multiplex in drag and as breakable as a once fine tea cup that life has chipped at unflinchingly. Somehow the great Tennessee Williams pits them in a dogfight for alphadom and what ensues is not naturalistically pretty but brutally honest as everyone reaches the pinnacle of high art. Kim Hunter plays the sometimes understanding sister and almost always faithful wife of the sexist brute that created her G spot and Karl Malden portrays Mitch as a lonely and desperate sad sack whose sickly and overbearing mother has sheltered him from the tricks Blanche employs to entrap him. These two are the yes men who are the observers and recipients of the fight the two brass are sanctioning to the death. Kazan masterpiece. 06-Feb-2017