Who's Afraid of Virginia Woolf? (1966)

Wow, those folks have routier parties than I do.  And I’m the one that’s in college…

Who is afraid of Virginia Woolf? Virginia Woolf… Virginia Woolf… Okay, who IS Virginia Woolf?  She’s not really a part of the actual movie.  She was a writer – that much I know from working in a bookstore.  Upon learning a little more about her, she was known for her stream of consciousness style and psychological themes.  To say “who’s afraid of Virginia Woolf” as though she was Disney’s big, bad wolf, is to suggest that you might be afraid of those things that you can’t accept.

Kind of wish I’d understood that before I watched the movie.

Martha and George (Elizabeth Taylor and Richard Burton), a couple with some serious tongue issues, have returned late from a dinner party at Martha’s father’s home – the president of some local New England college.  George is a history professor.  He speaks very well.  Martha drinks a lot.  She also thinks it’s cool to invite a young couple over for drinks at two am without informing the husband.

The good-looking Nick and his mousey wife Honey (George Segal and Sandy Dennis), a recently hired biology professor and a naïve blonde, aren’t sure how to react to the volatile atmosphere that is their host’s home.  The rest of the film details the events of the evening.  On the menu: Martha lewdly flirting with Nick, George testing Nick’s verbal skills, the whole party tip-toeing around conversing about Martha and George’s oddly absent son – whose birthday is the following day, Honey getting sick and super drunk, playing fun games such as Humiliate the Host followed by Get the Guests, and basically everybody getting more drunk and crying and shouting and stuff.

My honest reaction upon the revealing ending was, “huh, it’d probably be good to watch that again with a better vision of what went on there.  …  Actually, I think I’d rather never watch it again.”  Who’s Afraid of Virginia Woolf is certainly an incredible tale.  But it’s a downer.  Not that I’m judging anyone who does drink, I must admit I have never been more grateful that I don’t.  I can’t say that I comprehend exactly the what’s up of, you know, intoxication, but I’ll admit that this situation is NOT my idea of fun.  This is what AA is for guys.  The entire film is mesmerizing, but not necessarily enjoyable.

The best thing here is the performances.  Our four leads (so, the whole cast?) were all nominated for Oscars with the two ladies taking the cake.  All four were deserving of the acclaim – Richard Burton was definitely my favorite performance, but I can’t argue with Paul Scofield winning that one for A Man for All Seasons.  The writing is, of course, impeccable but Burton’s delivery is witty and even entertaining.  Like any person with a gifted tongue would be able to, he hides his own torment and anguish through his insulting monologues.

Elizabeth Taylor can act, guys.  She put on around 30 pounds for the role, and abandoned her famous beauty for this role of a slob.  Her foul mouth and obnoxious mannerisms are fascinating.  She embodies the monstrous character in such a way that gives her life – you can see the potential that Martha had to be tender and kind.  George Segal and Sandy Dennis are also incredible, their ups and downs and insecurities are perfectly emulated.

Through those performances, we get to study the relationships between each couple and as an entire group.  Why Martha and George were married in the first place, who knows.  It’s nothing but put-downs, insults, humiliation, cussing, and zero mutual respect.  Casting Burton and Taylor was genius – you’ve always got that notion in the back of your mind about their real-life relationship=fascination to a whole ‘nother level.  Nick and Honey, seemingly in love at first aren’t quite so peachy-keen with each other it turns out.  He married her because he thought she was pregnant, and for her money.  I guess that’s cool, she’s pretty high-strung I’m not sure who would marry her out of love.  No offense.

Mike Nichols directs this very well – his first film crazy enough.  Again, the casting choices were awesome.  The story, based off the Tony-award winning play, is well played out and greatly paced.

I must admit, there are very few things wrong with this movie, as you may have gathered with all this good stuff i’m talking about.  But it’s so dark and awful, it’s hard to enjoy so much hate and without any real resolution to happiness.  It’s certainly worth watching for the feat that it is, but it, by no means, will ever be a favorite of mine.  “Who’s afraid of Virginia Woolf?” “I am.” 6/10

Giant (1956)

Giant is a giant of a movie.  It’s three and a half hours long and covers two generations of Benedicts, even introducing a third.  It stars Elizabeth Taylor, Rock Hudson, and James Dean – three very beautiful people. Man, I’ve asked myself so many times what James Dean’s legacy would be if he hadn’t died… That kid knew how to act and this movie is no exception.  He’s still one of my favorite actors and I adore all THREE of his movies, but he was just getting started!  So sad.

Jordan “Bick” Benedict (Hudson)  is the top dawg in Texas, head of the famous Benedict ranching family, owner of Reata ranch.  He goes to Maryland to buy the horse War Winds and falls in lurve with the brunette hottie, Leslie (Taylor).  She comes back with him to Texas.  Bick’s sister, Luz (Mercedes McCambridge) runs the coop, doesn’t like Leslie, is kinda mean to her horse, but likes the poor cowboy Jett Rink (Dean).

Things get a little crazy when Luz is killed, gives some land to Jett and Jett becomes the big-shot oil tycoon of Texas.  The plot is centered around the rivalry between the Benedict family and Jett.

I’d almost say that this is my favorite epic.  It closely rivals Ben Hur – and that’s a childhood favorite of mine.  Anything longer than three hours gets slow, let’s be honest.  Even Lord of the Rings has the four hundred endings.  But Giant manages the time fairly well, and maintains a steady pace throughout the film.  Don’t get me wrong, it’s still freaking long (everything’s bigger in Texas) but it gets the job done in a satisfying, and moving way.  One of its major keys to success is that the cast is smaller than most epics.  We have a clear-cut idea of who all the characters are and their role in the story.  We aren’t scrambling to remember all the forty grandchildren and the five different groups of bad guys.

Elizabeth Taylor is beautiful, oh she’s beautiful.  Even as an old lady towards the end she’s still got class.  Leslie the character is also admirable – she’s feisty and opinionated, anything a girl like me can look up to. I’m not a super-feminist by any means, but I like her fight for a place amongst the boys and respect any such women.

She is hardly the star though.  Rock Hudson is also excellent in his role as the patriarch of the fam.  He’s tough, kind of stubborn, but a good guy.  The Benedict offspring are also well-played.  Carroll Baker is great as Luz II.  Totally didn’t realize that it was DENNIS HOPPER in there until AFTER I’d watched the entire thing though.  I don’t think that makes me an idiot totally.  He’s quite handsome in this – not that he isn’t in his later roles but, ya know, if you’ve seen Hoosiers as many times as I have you’d understand.

James Dean… is awesome.  The method actor that showed the world how to method act.  You feel sorry for him, then you hate him.  His career was abruptly ended during filming, but his performance is nonetheless incredible.  I’d have given him the Oscar – though Yul Brinner’s totally a bare-chested stud I’ll admit.  Either way, James Dean will always be a cinematic icon, even if he’s only got three movies to his name.  Why is it that the talented ones have to die so young?  No one’s going to wonder what Miley Cyrus’s career would have been like if she were to die tomorrow.  But whatever.

Enough with my James Dean praise.  Besides the spectacular acting, the cinematography is spectacular.  If anything were to invite me to Texas and the ranch-life it’d be this movie.  Everything is consistently beautiful, oh how those roaring hills call to me.

George Stevens should also be recognized for this film’s legacy.  The overall feel of the film is moving and sweeps you off your feet.  It’s a great adaptation of an Edna Ferber novel.  Each scene is memorable.  Bick’s final fight in the restaurant, Jett’s lament to Luz, Leslie chewin’ out the boys.

This is a film worth investing three and a half hours for.  And I don’t say that lightly.  If only for James Dean. 9/10

Cat on a Hot Tin Roof (1958)

Oh Elizabeth Taylor.  You were such an icon.  You kind of ruled the movie industry.  And your life was such a soap opera.  But you’re still amazing.  RIP, lady.  Sadly, there are quite a few of her movies that I haven’t seen yet. Nothing like a death to get you rolling, so here I am.

First of all, Paul Newman’s in this movie.  I’m kind of in love with that blue-eyed hunk.  Taylor plays our “cat on a hot tin roof,” Maggie, and is married to Paul (his name is Brick) an alcoholic ex-football player.  I don’t know about you folks, but initially I thought that Maggie was our bad guy character.  She’s sassy, standoffish and rude.  You’re not quite sure if her pleas for affection from Brick are out of sexual selfishness or genuine love.  But then the story slowly unfolds and turns out Brick’s kind of a bum.  And an ignorant jerk.  Maggie’s still sassy and rude and standoffish, but she’s got good intentions.

Their marriage is on the rocks (and childless).  Brick’s father “Big Daddy” (Burl Ives) is dying of cancer.  The house is full of screaming “no-neck” kids.  Brick’s brother Gooper (Jack Carson) and wife (Madeleine Sherwood) are idiots, bickering over who gets what when he dies and trash talking about Brick.  Big Mama (Judith Anderson) is just freaking out.  It’s all a big mess – everyone’s lying to everybody and nobody is getting along.  Except the oblivious kids maybe.

All of this tension is even more eminent transpiring in such close quarters and all in one sitting. Everything takes place in a single evening.  It’s hard to tell how long Brick has been dealing with this crisis of identity and basically how long he’s been completely self centered, wallowing in his problems and reliving “the glory days.”  In some ways, it seems like the story is unveiled almost too organized.  Problem- digging into man’s subconscious- solution-type of deal.  Could all of those deep psychological issues be fixed with one pow-wow with the pops?  Just a thought.

But this is still a great movie.  Based off the Pulitzer prize winning play by Tennessee Williams, the script is still good though apparently deviating dramatically from the original (like a prominent homosexual theme?)  The acting is also great and I’m ASTONISHED that Burl Ives wasn’t nominated. He was my favorite part (well, except for looking at Paul Newman that is…) Elizabeth Taylor is a fiery spirit as always and she’s perfect for the role.  Newman is also excellent – proof that he has range as an actor.  It’s one of those movies where every single person is perfect in their role.  I also enjoyed Judith Anderson’s performance as Big Mama.

The selling point is the ever-present tension.  It literally fogs your screen it’s so heavy.  And man, who wouldn’t feel stressed with all of that bickering and chaotic children.  It’s excellently directed by Richard Brooks.  The climax between Brick and Big Daddy is the explosion after a ticking bomb.  It’s perfectly set and the ending is dang satisfactory.  Full of sizzle.  Yes, I just used the word sizzle.

And did I mention that I love Paul Newman’s blue eyes? 7/10

Dr. Strangelove or: How I Learned To Stop Worrying and Love The Bomb (1964)

I love it when I don’t know too much about a movie.  Of course I’d heard of Dr. Strangelove (what movie-lover hasn’t) but I can honestly say that I was unfamiliar with the premise.  All I knew were images of Peter Sellers looking like a mad scientist who was undoubtably Strangelove, a crazy.  Maybe if I paid more attention to the title I’d gain some sort of intuition that a nuclear war might be involved.

Peter Sellers stars times 3 alongside George C. Scott in this Stanley Kubrick dark-comedy classic.  Psychotic General Ripper (Sterling Hayden) of the US Air Force issues a nuclear attack on Russian soil as part of “Plan R,” an emergency war plan meant to surpass the President’s authority in case of his death in an attack by the Soviets. Meanwhile a team of politicians and President Merkin Muffley, alive and well, (Sellers 1) meet with General Buck Turgidson (Scott) in the war room (no fighting in there) to frantically bring it under control.  As part of “Plan R” already airborne B-52s, however, have no means of being reached without a three digit pass code to recall the bombers.  Oh yeah, and the Rooskies have a super-secret “doomsday machine” that will blow up the whole world if they’re attacked.

Captain Lionel Mandrake (Sellers 2), executive officer to General Ripper, learns through pop-music on the radio that we are not, in fact, at war and attempts to convince Ripper to recall the bombers.  When he doesn’t, Ripper locks Mandrake in his office.  They have good times chatting about fluoridation and purifying bodily fluids and commies and women and how politicians can’t be in charge of war.

Also in the War Room is Dr. Strangelove (Sellers 3), an ex-nazi weapons man in a wheel chair with hand problems – but it’s cool because no one in the room finds it abnormal that he attempts to strangle himself every few minutes.  He addresses the President as Mein Führer several times and seems to know a thing or two about doomsday-ness.

Now THIS is the right attitude to have about the end of the world.  Let’s welcome that apocalypse with yee-haws.  The main thought floating through my head while watching was “what CAN’T Kubrick do?”  He’s no man of consistency.  I’d never guess he’d throw a comedy into his repertoire though, and it’s kind of crazy how good it is.  The script combined with the spontaneity and perfect delivery of the actors is hilarious satire.

First of all, Peter Sellers rocks this show.  The Pink Panther can do it all and some. Three (could have been FOUR) roles for the man and he’s just as hilarious in each part.  Conversing with the President of Russia (“Now, I’m just as sorry as you are!”) or blasting off Coke machines (If you don’t get the President of the United States on that phone you know what’s going to happen to you? You’ll have to answer to the Coca-Cola Company.”) or that iconic last scene as Dr. Strangelove… Sellers is genius.

George C. Scott, however, hardly pales next to him.  He, too, is hilarious as General Buck Turgidson. Absurd, and over the top, he embodies that part.  Watching him and Sellers (as the President that is) go at it is a bundle of laughs. Slim Pickens as ‘King’ Kong (would you get a handle of these names?) is also a highlight as the Texan Major in one of the B-52s, and though Sellers would have been good in this role, Pickens is awesome.  ”Two pairs a nylon stockin’s. Two pair a prophylactics. Shoot, a fella could have a good time on this in Vegas.”

It’s a comedy in its own way, but it isn’t comedic.  It’s impeccably relevant with the Cold War fear.  It’s a dark subject, but it makes us laugh at that fear of all things.  It does what political satire does best.  It’s all about laughing at the people who don’t know that there is something funny about them.  It’s subtle, but outrageous.  I love that it can get us ROFLing and be a piece of art at the same time.  It’s got Kubrick’s touch in the camerawork and film-noir elements.

This accompanies 2001 as some of the best freaking amazingness that ever came out of Stanley Kubrick. Though I love My Fair Lady I do wonder at which is better suited for the Best Picture title… One of the greatest WTF endings in the business, “Mein Führer, I can WALK!” and this classic will always be just that, a classic.  9/10

The Graduate (1967)

And here’s to you, Mrs. Robinson.

Dustin Hoffman stars as Benjamin Braddock, who recently completed his undergrad and is deciding what to do with his life.  The film begins at the Braddock’s home in California where his parents are throwing him a graduation party.  Embarrassed, frustrated, uncomfortable, he escapes and stares at his fish.  Mrs. Robinson (Anne Bancroft) – wife of Ben’s father’s law partner and family friend, she also doesn’t have a first name apparently – finds Ben hiding.  Asks him for a ride home… asks him in the house… offers him a drink… turns on music… starts taking off her clothes…. “Mrs. Robinson, you’re trying to seduce me.”  Ben’s a little taken aback by these advances of a 40 somethin’ year old woman and panics his way out of the house.  But with no direction, he doesn’t stay horrified for long.  He soon arranges their first rendez-vous at a hotel and their affair awkwardly begins.

He’s basically living the life.  Sun bathing and piña coladas in the pool by day… meeting the woman at night.  In one of their rare discussions, Mrs. Robinson forbids Ben to ever date her college-aged daughter, Elaine.  Ben’s reluctant to promise anything but doesn’t care much for the Robinson daughter so he agrees.  Too bad his parents do care.  They coerce him  into taking her out when she returns from Berkley.  With his affair between Mrs. R completely over, and despite his initial efforts to ruin their date, he starts to fall for the cute, full of life Elaine.  I’ll let you imagine where that might lead.

The great thing about The Graduate is that it takes its time.  One of the best scenes in the movie is a simple conversation between Mrs. Robinson and Ben.  The scene is quite long with many pauses, but it is one of the greatest crafted scenes I have ever seen.  Ben is flustered with their exclusively physical relationship, and starts asking Mrs. Robinson questions.  We glimpse his eyes grow with wonder, we watch her eyes fill with pain.  There’s so much sadness and so much growth.  Needless to say the script is impeccable.  Witty, satirical, but deep.

The rest of the movie is developed in a similar fashion.  The pacing is greatly due to the music of good ol’ Paul and Art.  ”The Sounds of Silence” is so perfect for the movie (as, of course, is “Mrs. Robinson”) and there are many scenes with nothing but.  It miraculously never drags.  Ben drives to see Elaine…. Ben slowly sinks in his pool, full of apprehension (great moment)… Ben lying in his pool… very little action.  I grew up listening to Simon and Garfunkel, but I never knew they were this cool.  The sounds of silence can speak so much louder than dialogue.

The Graduate is primarily a comedy – the script is evidence of that.

Ben: “Where’d you do it?”
Mrs. Robinson: “In his car.”
Ben: “What kind of car was it?”
Mrs. Robinson: “Come on now.”
Ben: “No, I really want to know.”
Mrs. Robinson: “A Ford.”
Ben: [laughs] “That’s great.  So Elaine Robinson got started in a Ford…”

It’s a funny movie, but it’s not just funny.  It’s a character study.  It makes you laugh, but I’d mostly say that it makes you smile at the realism.  The second half of the movie is greatly different from the first, its dynamic changes as Benjamin changes.  His and our attentions shift to Elaine, and his pursuit to win her over.  (Some great scenes there too… man I could rave about this whole movie scene by scene if I really wanted to).

Good acting? Check.  For me, it’s weird to think that Dustin Hoffman hasn’t always been the top dawg in his business.  I mean, this is the guy that did Rain Man, Kramer vs. Kramer, Tootsie, All the President’s Men… He’s been “the man” my whole life.  But nobody knew Dustin then.  Everyone knew Dustin after Benjamin Braddock.  Even without D. Hoffman, though, Anne Bancroft is sensational.  You hate her, you feel sorry for her.  The rest of the acting is solid as well, mainly Katherine Ross.

This film was one of the few to win the Best Director Oscar and not Best Picture.  Mike Nichols is the man.  It was nominated for basically everything else, though, including Cinematography (excellent – a constant visual treat) and Screenplay (also excellent).

And how ’bout that end?  The wedding crash to top all wedding crashes.  ”It’s too late.” “Not for me!” (Granted, that IS a relationship I’d love to see in the future… how could YOU handle being with someone that had slept with your mother?)

I can’t rave enough.  With these acclaimed classics that I’d never seen, it’s difficult sometimes to figure out if you love it because you know you should love it, or if you actually love it.  I didn’t want to hand out a 10 just to conform.  But the more I thought about it, the fewer things I disliked.  This movie is excellent on all fronts, and truly should be considered a classic.  10/10

12 Angry Men (1957)

Basic murder case.  Troubled kid.  Murdered father.  Easy math.  He was labeled guilty before the trial ever started.  That’s what the jury thought also, until Juror #8 (Henry Fonda) voiced his opinion.  “I’m not sure,” he said.  “Well, there were eleven votes for guilty. It’s not easy to raise my hand and send a boy off to die without talking about it first.”

A man’s life is important enough for some time and consideration.  It’s not that Juror #8 is some saint or savior but just that he has the humanity to take his role seriously.  “I’m not saying he’s innocent, I’m saying it’s possible.”  From the very beginning there was apathy.  Take the judge: “Premeditated murder is the most serious charge tried in our criminal courts… …The death sentence is mandatory in this case…”  He speaks with a yawn in his throat.  I remember thinking, is this for real?  Then, when #8 suggests, “let’s talk about it, give him an hour at least.”  “Sure, we can do that.” everybody says, and they begin “stalling” time so they can at least say they considered “for an hour.”  Don’t they get it?

My favorite is Juror #4 (E.G. Marshall).  Unlike most of the others, he intelligently processed the details and carefully thought through the situation to come to the conclusion that he was guilty.  He wasn’t motivated by baseball tickets, animosity, prejudice, indifference, fatigue, or a stuffy room.  He calmly presented his reasons and argued his point in a civilized manner.

Then, of course, there’s Juror #3 (Lee J.  Cobb).  He’s the “Yeah, what he said!” man of the bunch.  It’s going to take some tough prodding to convince him.  Man, what excellent acting though.

Have you ever witnessed an argument amongst friends or colleagues and just plain enjoyed it?  Whether friendly or not, arguing can be very amusing and entertaining.  You wish, “Gee, why can’t I think that quick?”  This movie is for you. Essentially, it’s nothing but a bunch of old men arguing.  There are plenty of satisfactory shutdowns e.g. “I beg pardon…” “‘I beg pardon?’ What are you so polite about?”  “For the same reason you aren’t.  It’s the way I was brought up.”  or  “Anyone in his right mind would blow his stack.  He was just trying to bait me…”  “He did an excellent job.”  The dialogue is the best part. “You keep coming up with these great sayings!  Why don’t you send ‘em in to a paper – they pay three dollars apiece!”  Okay, I’m done quoting now.

There are four scenes in 12 Angry Men:  Outside the courthouse, the courtroom, the jury room, and the wash room.  That’s it.  And the first two hardly count.  It isn’t easy to pull off a full length feature film in one room but this doesn’t miss a beat.  You can feel their sweat, you sense their rising tempers and their growing fatigue.  The claustrophia settles in on the audience themselves.  I give Sidney Lumet a big gold star for directing, he knew how to set a mood.

This movie has aged well and remains influential to modern-day filmmaking.  Like I said, watch this if you enjoy a good debate. 10/10