In this scene, we meet Fred C. Dobbs (played by Humphrey Bogart) and we watch as he begs and scrounges for money. The man in the white suit is played by John Huston himself. This was Huston’s first acting role. He would go on to be nominated for best supporting actor for his role in The Cardinal. He would also give unforgettable performances in films like The Other Side of the Wind, The Visitor, and Chinatown.
4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
120 years ago today, the writer/director/actor John Huston was born in Nevada, Missouri. Today, we honor his life and films with….
4 Shots from 4 John Huston Films
The Maltese Falcon (1941, dir by John Huston, DP: Arthur Edeson)
The Night of the Iguana (1964, dir by John Huston, DP: Gabriel Figueroa)
The Bible (1966, dir by John Huston, DP: Giuseppe Rotunno)
Under the Volcano (1984, dir by John Huston, DP: Gabriel Figueroa)
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.
Today is not just Christmas! It is also Humphrey Bogart’s birthday! Bogart was born 126 years ago, today! And that means that it’s time for….
4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
Today would have been Sean Connery’s 95th birthday. It’s time for….
4 Shots From 4 Sean Connery Films
From Russia With Love (1963, dir by Terence Young, DP: Ted Moore)
Goldfinger (1964, dir by Guy Hamilton, DP: Ted Moore)
The Man Who Would Be King (1975, dir by John Huston, DP: Oswald Morris)
Highlander (1986, dir by Russell Mulcahy, DP: Gerry Fisher)
4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
119 years ago today, the writer/director/actor John Huston was born in Nevada, Missouri. Today, we honor his life and films with….
4 Shots from 4 John Huston Films
The Maltese Falcon (1941, dir by John Huston, DP: Arthur Edeson)
The Misfits (1961, dir by John Huston, DP: Russell Metty)
The Night of the Iguana (1964, dir by John Huston, DP: Gabriel Figueroa)
Under the Volcano (1984, dir by John Huston, DP: Gabriel Figueroa)
4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
Marilyn Monroe would have been 99 years old today. Sixty years after her mysterious death, Marilyn Monroe continues to intrigue film lovers and conspiracy theorists alike. Her legacy is such that, ever since her death, directors have been trying to recreate her life with biopics and actresses have been trying to recapture Marilyn’s magic.
It’s not easy to for them to do because Marilyn Monroe was an original and not someone whose talent and charisma can be easily duplicated. Needless to say, it’s time for….
4 Shots From 4 Marilyn Monroe Films
All About Eve (1950, dir by Joseph L. Mankiewicz, DP: Milton R. Krassner)
Niagara (1953, dir by Henry Hathaway, DP: Joseph MacDonald)
Some Like It Hot (1959, dir by Billy Wilder, DP: Charles Lang)
The Misfits (1961, dir by John Huston, DP: Russell Metty)
4 Shots from 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots from 4 Films lets the visuals do the talking!
4 Shots From 4 Biblical Epics
David and Bathsheba (1951, dir by Henry King. DP: Leon Shamroy)
The Ten Commandments (1956, dir by Cecil B. DeMille, DP: Lloyd Griggs)
Ben-Hur (1959, dir by William Wyler, DP: Robert Surtees)
The Bible (1966, dir by John Huston, DP: Giuseppe Rotunno)
4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
Today, we pay tribute to the year 1964 with….
4 Shots From 4 1964 Films
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964, dir. Stanley Kubrick, DP: Gilbert Taylor)
The Naked Kiss (1964, dir by Samuel Fuller, DP: Stanley Cortez)
Blood and Black Lace (1964, dir by Mario Bava, DP: Ubaldo Terzano)
The Night of the Iguana (1964, dir by John Huston, DP: Gabriel Figueroa)
What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable or streaming? This feature is all about those insomnia-inspired discoveries!
If you find yourself having trouble getting to sleep tonight, you can always pass the time by watching the 1968 film, Candy. It’s currently on Tubi.
Based on a satirical novel by Terry Southern and Mason Hoffenberg, Candy follows Candy Christian (Ewa Aulin), a naive teenager from middle America as she has a number of increasingly surreal adventures, the majority of which end with her getting sexually assaulted by one of the film’s special guest stars. It’s very much a film of the 60s, in that it’s anti-establishment without actually seeming to know who the establishment is. It opens with a lengthy sequence that appears to be taking place in outer space. It ends with an extended sequence of Candy walking amongst the film’s cast and a bunch of random hippies. Director Christian Marquand appears as himself, directing the film. Yep, this is one of those films where the director and the film crew show up and you’re supposed to be say, “Far out, I didn’t realize I was watching a movie, man.”
The whole thing is a bit of a misfire. The novel was meant to be smut that satirized smut. The film isn’t really clever enough to work on any sort of real satirical level. As was the case with a lot of studio-made “psychedelic” films in the 60s, everything is a bit too obvious and overdone. Casting the Swedish Ewa Aulin as a character who was meant to represent middle America was just one of the film’s missteps. Based on The Graduate, Mike Nichols probably could have made a clever film out of Candy. The French Christian Marquand, a protegee of Roger Vadim’s, can not because he refuses to get out of the film’s way. It’s all jump cuts, flashy cinematography, and attempts to poke fun at American culture by someone who obviously knew nothing about America beyond the jokes told in Paris.
That said, the main reason that anyone would watch this film would be for the collection of guest stars who all show up and try to take advantage of Candy. Richard Burton plays an alcoholic poet named MacPhisto and his appearance goes on for far too long. (Burton, not surprisingly, appears to actually be drunk for the majority of his scenes.) Ringo Star — yes, Ringo Starr — plays a Mexican gardener who assaults Candy after getting turned on by the sight of MacPhisto humping a mannequin. When Emmanuel’s sisters try to attack Candy, she and her parents escape on a military plane that is commanded by Walter Matthau. Landing in New York, Candy’s brain-damaged father (John Astin) is operated on by a brilliant doctor (James Coburn) who later seduces Candy after she faints at a cocktail party. Candy’s uncle (John Astin, again) also tries to seduce Candy, leading to Candy getting lost in New York, meeting a hunchback (Charles Aznavour), and then eventually ending up with a guru (Marlon Brando). Candy’s adventures climax with a particularly sick joke that requires a bit more skill to pull off than this film can afford.
If you’re wondering how all of these famous people ended up in this movie, you have Brando to thank (or blame). Christian Marquand was Brando’s best friend and Marlon even named his son after him. After Brando agreed to appear in the film, the rest of the actors followed. Brando, Burton, and Coburn received a share of the film’s profits and Coburn later said that his entire post-1968 lifestyle was pretty much paid for by Candy. That seems appropriate as, out of all the guest stars, Coburn i the only one who actually gives an interesting performance. Burton is too drunk, Matthau is too embarrassed, Starr is too amateurish, and Brando is too self-amused to really be interesting in the film. Coburn, however, seems to be having a blast, playing his doctor as being a medical cult leader.
Candy is very much a film of 1968. It has some value as a cultural relic. Ultimately, it’s main interest is as an example of how the studios tried (and failed) to latch onto the counterculture zeitgeist.
The 1963 film, The Cardinal, opens with an Irish-American priest named Stephen Fermoyle (Tom Tyron) being instituted as a cardinal.
In a series of flashbacks, we see everything that led to this moment. Stephen starts out as an overly ambitious and somewhat didactic priest who, over the years, is taught to be humble by a series of tragedies and mentors. It’s a sprawling story, one that encompasses the first half of the 20th Century and, as he did with both Exodusand Advice and Consent, Preminger tells his story through the presence of several familiar faces. Director John Huston plays the cardinal who takes an early interest in Stephen’s career. Burgess Meredith plays a priest with MS who teaches Stephen about the importance of remaining humble and thankful. When Stephen is in Europe, Romy Schneider plays the woman for whom he momentarily considers abandoning his vows. When Stephen is assigned to the American South, Ossie Davis plays the priest and civil rights activist who teaches Stephen about the importance of standing up for those being oppressed. In the days leading up to World War II, Stephen is sent to Austria to try to keep the local clergy from allying with the invading Nazis. Stephen also deals with his own family drama, as his sister (Carol Lynley) runs away from home after Stephen counsels her not to marry a good Jewish man named Benny (John Saxon) unless Benny can be convinced the convert to Catholicism. Later, when his sister becomes pregnant and Stephen is told that she’ll die unless she has an abortion, Stephen is forced to choose between his own feelings and teachings of the Church. Along the way, performers like Dorothy Gish, Cecil Kellaway, Chill Wills, Raf Vallone, Jill Haworth, Maggie McNamara, Arthur Hunnicut, and Robert Morse all make appearances.
All of the familiar faces in the cast are used to support Tom Tryon and Tryon needs all the support that he can get. Despite Otto Preminger’s attempts to make Tom Tyron into a star, Tryon eventually retired from acting and found far more success as a writer of the type of fiction that Stephen Fermoyle probably would have condemned as blasphemous. Tryon gives a stiff and unconvincing performance in The Cardinal. The entire film depends on Tryon’s ability to get us to like Stephen, even when he’s being self-righteous or when he’s full of self-pity and, unfortunately, Tryon’s stiff performance makes him into the epitome of the type of priest that everyone dreads having to deal with. Tryon gives such a boring performance that he’s overshadowed by the rest of the cast. I spent the movie wishing that it would have spent more time with John Saxon and Burgess Meredith, both of whom give interesting and lively performances.
The Cardinal is a long and rather self-important film. The same can be said of many of Preminger’s films in the 60s but Exodus benefitted from the movie star glamour of Paul Newman and Eva Marie Saint and Advice and Consentwas saved by an intelligent script. The Cardinal, on the other hand, is a bit draggy and makes many of the same mistakes that many secular films make when they try to portray Catholicism. Oddly enough, The Cardinal received more Oscar nominations than either Exodus or Advice and Consent. Indeed, Preminger was even nominated for Best Director for his rather uninspired work here. Considering the number of good films for which Preminger was not nominated (Anatomy of a Murder comes to mind), it’s a bit odd that The Cardinal was the film for which he was nominated. (Of course, in 1944, the Academy got it right by nominating Preminger for his direction of Laura.) The Cardinal is largely forgettable, though interesting as a type of self-consciously “big” films that the studios were churning out in the 60s in order to compete with television and the counterculture.
Through the Shattered Lens 