Film Review: X-15 (dir by Richard Donner)


James Stewart, Charles Bronson, and Mary Tyler Moore!?  All in a film directed by Richard Donner!?

Well, kind of.

James Stewart does not actually appear onscreen in 1961’s X-15.  However, he does provide the narration, explaining to us the origins of the NASA’s X-15 project and why it’s important that America be the first to explore and conquer space.  He talks about the men who risked their lives to test the rocket and the women who supported them and who started every day with the knowledge that they might never see their husband again after he left for work.  There’s something undeniably comforting about hearing Stewart’s voice in this film.  It’s the voice of an idealized America.  It’s a little weary.  There’s definitely a bit of age in the voice.  It’s the voice of a man and a country that has had to survive a lot, especially over the past few years.  But it’s also an incurably optimistic voice.  You hear that voice and you know that everything is going to be okay.

Richard Donner’s directorial debut, X-15 is a docudrama that often plays out like a commercial for the X-15 and America’s young space program.  The film mixes actual footage of the X-15 with scenes of the pilots returning (and sometimes not returning) home.  The emphasis is on each man doing what needs to be done to make the program a success and each woman doing what she has to do to support her man.  Throughout the film, there are scenes where the wives and the girlfriends of the pilots hear sirens and explosions and silently hope that they won’t be the one getting the call.

Making her film debut, Mary Tyler Moore plays Pamela, the girlfriend of pilot Matt Powell (played, in rather dull fashion, by David McLean).  When Pamela first arrives at the base, the wives warn her about overreacting to every explosion.  Major Rinaldi (Brad Dexter) warns her to not even try to get pregnant because that would take Powell away from the program.  (When Rinaldi talks to Pamela, he comes across as more than just being a 50s-style sexist.  That would be expected, considering that the film was made in 1961.  Instead, Rinaldi actually comers across as being rather threatening.  It’s kind of disturbing, to be honest.)  Pamela comes to understand the importance of Matt’s work and Matt …. well, Matt’s kind of dull.

Actually, despite being played by wonderful character actors like James Gregory and Kenneth Tobey, just about every man in this film is kind of boring.  This is one of those films that celebrates the idea of cold, hard professionalism.  No one shows much emotion, even when one of the pilots is killed in an accident.  No one is blamed.  No one is shouted at.  It’s just something that happens and everyone understands the risks.  It’s actually an admirable attitude and one reason why I have a thing for pilots.  But the deliberate blandness of the pilots in X-15 makes it difficult to keep track of who’s who.  The only male actor who makes a real impression is Charles Bronson, playing Lt. Col. Brandon.  Bronson’s incredible screen presence makes up for the fact that his character doesn’t have much of a personality.

That said, it’s a bit of a disappointment that Jimmy Stewart is not onscreen and Mary Tyler Moore has to share her scenes not with Bronson but instead with the dull David McLean.  When the film was released in 1961, it was providing audiences with something that they hadn’t seen before and I imagine it was truly exciting to see a rocket fly, however briefly, into space.  However, modern audiences have seen Top Gun and Top Gun: Maverick.  I’ve seen The Right Stuff, which covers much of the same material as X-15.  As a result, when viewed today, X-15 is a bit dull and features little of the flair that would characterize Richard Donner’s later directorial efforts.  Today, the main reason to watch the film is for Stewart, Moore, and Bronson.  Not having them acting opposite each other feels like a huge missed opportunity.

Embracing the Melodrama Part III #1: No Down Payment (dir by Martin Ritt)


Back in 2014 and 2015, I did a series of reviews that I called Embracing the Melodrama, in which I reviewed some of the best (and worst) melodramas ever made.  All together, I reviewed 186 films as a part of Embracing the Melodrama, everything from Sunrise to Reefer Madness to The Towering Inferno to Cocaine: One Man’s Seduction.  I had so much fun doing it that I’ve decided to do it again.

No, don’t worry.  I’m not going to attempt to review 186 films this time.  Instead, for Embracing The Melodrama Part III, I am going to limit myself to reviewing 8 films.  I’ll be posting one Embracing the Melodrama review a day, from now until next Sunday.

Let’s kick things off with 1957’s No Down Payment, a film about life in … THE SUBURBS!

(cue dramatic music)

The suburbs!

Is there any place in America that’s more dramatic?  Is it any wonder that, since the early 50s, films have regularly been using the suburbs as an example of everything that’s apparently wrong with America?  Every year sees at least one major film about how terrible life is in the suburbs.  Last year, for instance, George Clooney directed a film called Suburbicon, which was regularly cited as a possible Oscar contender before it was released and everyone was reminded of the fact that George Clooney is a terrible director.  That said, I can understand why filmmakers continue to be drawn to the suburbs.  Secret affairs.  Dangerous drugs.  Duplicitous children.  Fractured families.  Barbecuing alcoholics.  Undercover occultists.  You can find them all in the suburbs!

No Down Payment opens with David (Jeffrey Hunter) and Jean Martin (Patricia Owens) driving down a California highway and looking at the billboards that dot the landscape.  Every billboard advertises a new community, inviting people to make a new and better life away from the crowded city.  David and Jean smile, amused by how blatant all of the ads are.  That’s when they see the billboard that’s advertising their new home:

Sunrise Hill Estates

A Better Place For Better Living

Soon, David and Jean are moving into their new home and meeting their new neighbors.  It turns out that most of the houses in Sunrise Hill Estates are available for “no down payment” and the majority of the residents are struggling financially.  Though David may look at all of his neighbors and say, “Looks like everybody here is living a wonderful life,” the truth is something far different.

(If David’s line sound a bit too on the nose and obvious, that’s because almost all of the dialogue in No Down Payment was too on the nose and obvious.  As a side note, “on the nose” is an extremely strange expression.)

David’s neighbors include:

Herm Kreitzer (Pat Hingle) and his wife, Betty (Barbara Rush).  Herm owns an appliance store and sits on the town council.  Herm is gruff but likable.  He’s the leader of his neighborhood and he welcomes the Martins with a backyard party.  Herm’s employee, Iko (Aki Aleong), wants to move to Sunrise Hill but no one is willing to give him a reference because he’s not white.

Troy Boone (Cameron Mitchell) and his wife, Leola (Joanne Woodward).  We know that Troy is going to be trouble because he’s played by Cameron Mitchell.  We know that we’re going to like Leola because she’s played by Joanne Woodward.  Troy’s an auto mechanic and a veteran.  He wants to be appointed the chief of police but the town is reluctant to hire him because he doesn’t have a college education.  Leola wants to have a child but Troy says that they can’t even think about that until he has a good job.

And then there’s Jerry Flagg (Tony Randall) and his wife, Isabelle (Sheree North).  Jerry is a used car salesman and he’s also a drunk.  Jerry spends most of the movie hitting on other women and embarrassing Isabelle.  Jerry has no impulse control and, as a result, he’s heavily in debt.  His only hope is that he can convince a family to buy an expensive car that they really don’t need.  When last I checked, that’s what a used car salesman is supposed to do.

The film deals with a lot of issues — prejudice, sexism, economic insecurity — that are still relevant today.  Unfortunately, the film itself is a bit slow and what was shocking in the 50s seems rather jejune today.  Watching the film, you get the feeling that, as with many films of the 50s, all of the interesting stuff is happening off-screen.  That said, the film has an interesting cast.  Jeffrey Hunter and Patricia Owens are a bit dull as the Martins but then you’ve got their neighbors!  Any film that features Cameron Mitchell glowering can’t be all bad but the best performance comes from Tony Randall, who is memorably sleazy and desperate as Jerry Flagg.  For a fun experiment, watch this film right before watching Will Success Spoil Rock Hunter?

Tomorrow, we’ll continue to embrace the melodrama with 1961’s Common Law Wife!

Halloween Havoc!: THE FLY (20th Century Fox 1958)


gary loggins's avatarcracked rear viewer

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THE FLY is one of those films you’re probably familiar with if you’re a horror/sci-fi fan. I’ve seen it many times, but was under the impression it was a black & white movie (probably due to early viewings as a young’un, deprived of color TV). So when I rewatched it again in glorious Technicolor, I was pleasantly surprised. This tale of science gone wrong has held up well, and its iconic scene of The Fly’s unmasking still manages to jolt the viewer (even if you know it’s coming!).

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The film’s framing device finds us witnessing Helene Delombre murdering her husband Andre by squishing his head and arm under a huge hydraulic press (and it’s a pretty gruesome demise), then calling her brother-in-law Francois to tell him. Francois is stunned, to say the least, and gets ahold of his friend Inspector Charas. They drive over to the Delombre Freres (the movie’s set in Montreal)…

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