Film Review: The Boy With Green Hair (dir by Joseph Losey)


Who is Peter Fry (played by a 12 year-old Dean Stockwell), the young boy at the center of the 1948 film, The Boy With Green Hair?

When we first meet him, Peter is a nearly mute child who has had all of his hair shaved off and who refuses to talk about either one of his parents.  He’s mysteriously shown up in a small town and it’s only after a kindly psychologist (played by Robert Ryan) speaks with him that we discover that Peter is an orphan.  Both of his parents are dead, victims of the Second World War.  Fortunately, a retired actor named Gramps (Pat O’Brien) is willing to adopt Peter and raise him as his own.  Gramps has all sorts of stories about the times that he performed in Europe.  The film hints that Gramps might be a damn liar but he’s well-meaning, nonetheless.

Peter starts to attend school and slowly, but surely, he comes out of his shell.  Soon, he appears to be just another carefree child and his hair even grows back.  But then, one day, he sees a poster featuring other war orphans, children like him who have lost their families to war.  When Peter overhears adults talking about how the world may go to war again and how there are now even bigger and more destructive bombs that can be dropped on America’s enemies, Peter start to get upset.  What’s the point of going to school and preparing for the future if there’s not going to be any future?

One night, Peter goes to sleep.  When he wakes up in the morning, he discovers that his hair has turned green!

Why has Peter’s hair turned green?  It’s hard to say but the town is remarkably unsympathetic.  It’s perhaps understandable that Peter’s classmates would make fun of him because they’re children and children are the worst about not being able to handle change.  But not even the adults seem to be able to handle Peter having green hair!  They want to shave his head again!

With even kindly old Gramps prepared to take away Peter’s green hair, Peter flees into the woods.  There’s where he runs into the spirits of all the children who have either died or been orphaned by war.  They have a message for Peter….

The Boy With Green Hair is both an antiwar parable and a plea for tolerance.  There’s not a subtle moment to be found in the entire film but, considering that it was made at a time when the world was still in ruins and people were still getting used to living in the shadow of the atomic bomb, it’s perhaps understandable that the film would be a bit heavy-handed.  It was, after all, made during a heavy-handed time.  That said, the film actually works better as a parable about racism than as a pacifist statement.  It’s kind of hard to see how Peter having green hair could convince people to pursue world peace but the way that Peter is ostracized for being different from everyone else is something to which many viewers could undoubtedly relate.

There’s some weird padding in the film.  For instance, there’s a weird musical number involving Gramps that comes out of nowhere.  Still, one can see why the film made an impression on some viewers.  Dean Stockwell gives a sympathetic and, most importantly, naturalistic performance as Peter and the film’s message is a sincere one.  One could easily imagine and also easily dread the prospect of this film being remade with Peter’s hair turning green over climate change.  I’m a little surprised that hasn’t happened yet, especially considering the amount of coverage that was once given to Greta Thunberg, whose pronouncements and fame have made her a somewhat angrier version of the boy with green hair.  Hopefully, a remake won’t ever happen, as the original film works just fine as it is.  Not everything has to be remade.

Film Review: King of Kings (dir by Nicholas Ray)


The 1961 film, King of Kings, was the final biblical film that I watched on Easter.  Like The Greatest Story Ever Told, it tells the story of Jesus from the Nativity to the Ascension.  Like The Greatest Story Ever Told, it’s an epic film that was directed by a renowned director.  (In this case, Nicholas Ray.)  Like The Greatest Story Ever Told, King of Kings also has a huge cast and there’s a few familiar faces to be seen, though it doesn’t really take the all-star approach that George Stevens did with his telling of the story.

Probably the biggest star in King of Kings was Jeffrey Hunter, who played Jesus.  Hunter was in his 30s at the time but he still looked young enough that the film was nicknamed I Was A Teenage Jesus.  (Some of that also probably had to do with the fact that Nicholas Ray was best known for directing Rebel Without A Cause.)  But then again, for a man who had so many followers, Jesus was young.  He hadn’t even reached his 40th birthday before he was crucified.  As well, his followers were also young while his many opponents were representatives of the establishment and the old way of doing things.  It makes perfect sense that Jesus should be played by a young man and Hunter gives a good performance.  As opposed to so many of the other actors who have played Jesus in the movies, Jeffrey Hunter is credible as someone who could convince fishermen to throw down their nets and follow him.  He’s passionate without being fanatical and serious without being grim.  He’s a leader even before he performs his first miracle.

King of Kings is one of the better films that I’ve seen about the life of Jesus.  While remaining respectful of its subject, it also feels alive in the way that so many other biblical films don’t.  Perhaps not surprisingly, Nicholas Ray focuses on the idea of Jesus as a rebel against the establishment.  Ray emphasizes the casual cruelty of the Romans and their collaborators.  When John the Baptist (Robert Ryan) is arrested by Herod (Frank Thring), it’s not just so the filmmakers can have an excuse to work Salome (Brigid Bazlen) in the film.  It’s also to show what will happen to anyone who dares to challenge the establishment.  When Jesus visits John the Baptist in his cell, it’s a summit between two rebels who know that they’re both destined to die for the greater good.  When Pilate (Hurd Hatfield) makes his appearance, he’s smug and rather complacent in his power.  He’s not the quasi-sympathetic figure who appears in so many other biblical films.  Instead, he’s the epitome of establishment arrogance.

As a director, Nicholas Ray keeps things simple.  This isn’t Ben-Hur or The Ten Commandments.  The emphasis is not on grandeur.  Instead, the film is about common people trying to improve the world in which they’re living, while also preparing for the next.  Jeffrey Hunter gives an excellent performance as Jesus and, all in all, this is one of the better and more relatable biblical films out there.

Blues On The Downbeat: ODDS AGAINST TOMORROW (United Artists 1959)


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Desperate men commit desperate acts, and the three protagonists of ODDS AGAINST TOMORROW are desperate indeed in this late entry in the film noir cycle. This is a powerful film that adds social commentary to the usual crime and it’s consequences plot by tainting one of the protagonists with the brush of racism. Robert Wise, who sharpened his skills in the RKO editing room, directs the film in a neo-realistic style, leaving the studio confines for the most part behind, and the result is a starkly lit film where the shadows of noir only dominate at night.

But more on Wise later… first, let’s meet our three anti-heroes. We see Earle Slater (Robert Ryan ) walking down a New York street bathed in an eerie white glow (Wise used infra-red film to achieve the effect). Slater’s a fish out of water, a transplanted Southerner drifted North, a loser and loose cannon…

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A Movie A Day #354: Lolly-Madonna XXX (1973, directed by Richard C. Sarafian)


In the backwoods of Hicksville, USA, two families are feuding.  Laban Feather (Rod Steiger, bellowing even more than usual) and Pap Gutshall (Robert Ryan) were once friends but now they are committed rivals.  They claim that the fight started when Pap bought land that once belonged to Laban but it actually goes back farther than that.  Laban and Pap both have a handful of children, all of whom have names like Thrush and Zeb and Ludie and who are all as obsessed with the feud as their parents.  When the Gutshall boys decide to pull a prank on the Feather boys, it leads to the Feathers kidnapping the innocent Roonie (Season Hubley) from a bus stop.  They believe that Roonie is Lolly Madonna, the fictional fiancée of Ludie Gutshall (Kiel Martin).  Zack Feather (Jeff Bridges), who comes the closest of any Feather to actually having common sense, is ordered to watch her while the two families prepare for all-out war.  Zack and Roonie fall in love, though they do not know that another Feather brother has also fallen in love with Gutshall daughter.  It all leads to death, destruction, and freeze frames.

Lolly-Madonna XXX is a strange film.  It starts out as a typical hicksploitation flick before briefly becoming a backwoods Romeo and Juliet and finally ending up as a heavy-handed metaphor for both the Vietnam War and the social upheaval at home.  Along with all the backwoods drama, there is a fantasy sequence where Hawk Feather (Ed Lauter) briefly imagines himself as an Elvis-style performer.  (Hawk also dresses up in Roonie’s underwear.)  Probably the most interesting thing about Lolly-Madonna XXX is the collection of actors who show up playing Feathers and Gutshalls.  Along with Steiger, Ryan, Martin, Bridges, and Lauter, everyone from Randy Quaid to Paul Koslo to Scott Wilson to Gary Busey has a role to play in the feud.  Lolly-Madonna XXX is too uneven and disjointed to really be considered a good movie but I can say that I have never seen anything else like it.

One final note: Lolly-Madonna XXX was directed by Richard Sarafian, who is best known for another early 70s cult classic, Vanishing Point.

A Movie A Day #238: Lawman (1971, directed by Michael Winner)


In the 1880s, Jared Maddox (Burt Lancaster) is the marshal of the town of Bannock.  After a night of drinking and carousing leads to the accidental shooting of an old man, warrants are issued for the arrest of six ranch hands.  Maddox is determined to execute the arrest warrants but the problem is that the six men live in Sabbath, another town.  They all work for a wealthy rancher (Lee J. Cobb) and the marshal of Sabbath, Cotton Ryan (Robert Ryan), does not see the point in causing trouble when all of the men are likely to be acquitted anyway.  Maddox doesn’t care.  The law is the law and he does not intend to leave Sabbath until he has the six men.

Lawman starts out like a standard western, with a stranger riding into town, but then it quickly turns the western traditions on their head by portraying Marshal Maddox as being a rigid fanatic and the wealthy rancher as a morally conflicted man who does not want to resort to violence and who continually tries and fails to convince Maddox to leave.  In the tradition of Sergio Leone and Sam Peckinpah, there are no real heroes to be found in Lawman and, even when Maddox starts to reconsider his strict adherence to the law and refusal to compromise, it is too late to prevent the movie from ending in a bloody massacre.  Since Lawman was made in 1971, I initially assumed it was meant to be an allegory about the Vietnam War but then I saw that it was directed by Michael Winner, a director who specialized in tricking audiences into believing that his violent movie were deeper than they actually were.

Even if Lawman never reaches the heights of a revisionist western classic like Pat Garrett and Billy the Kid, it is still pretty good, with old pros Lancaster, Ryan, Cobb, and Albert Salmi all giving excellent performances.  The cast is full of familiar faces, with everyone from Robert Duvall to Richard Jordan to Ralph Waite to Joseph Wiseman to John Beck showing up in small roles.  In America, Winner is best remembered for his frequent collaborations with Charles Bronson.  Chuck is not in Lawman, though it seems like he should have been and Lee J. Cobb’s rancher is named Vincent Bronson.  Winner would not make his first film with Charles Bronson until a year later, when he directed him in Chato’s Land.

Rocky Mountain High: THE NAKED SPUR (MGM 1953)


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(By sheer coincidence, this post coincides with the birthday of character actor Millard Mitchell (1903-1953), who plays Tate in the film. Happy birthday, Millard! This one’s for you!)  

James Stewart and Anthony Mann  moved from Universal-International to MGM, and from black & white to Technicolor, for THE NAKED SPUR, the third of their quintet of Westerns together. The ensemble cast of five superb actors all get a chance to shine, collectively and individually, creating fully fleshed out characters against the natural beauty of the Colorado backdrop.

Bitter Howard Kemp, whose wife sold their ranch and ran off while he was serving in the war, is hunting down killer Ben Vandergroat for the $5,000 bounty in hopes of rebuilding his life. Along the trail he meets old prospector Jesse Tate and recently discharged (dishonorably) Lt. Roy Anderson. The trio manages to capture Vandergroat, but he’s not alone… he’s accompanied by pretty wildcat Lina…

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Lisa Reviews An Oscar Nominee: The Longest Day (dir by Ken Annakin, Andrew Marton, Bernhard Wicki, Gerd Oswald, and Darryl F. Zanuck)


As my sister has already pointed out, today is the 73rd anniversary of D-Day.  With that in mind, and as a part of my ongoing mission to see and review every single film ever nominated for best picture, I decided to watch the 1962 film, The Longest Day!

The Longest Day is a pain-staking and meticulous recreation of invasion of Normandy, much of it filmed on location.  It was reportedly something of a dream project for the head of the 20th Century Fox, Darryl F. Zanuck.  Zanuck set out to make both the ultimate tribute to the Allied forces and the greatest war movie ever.  Based on a best seller, The Longest Day has five credited screenwriters and three credited directors.  (Ken Annakin was credited with “British and French exteriors,” Andrew Marton did “American exteriors,” and the German scenes were credited to Bernhard Wicki.  Oddly, Gerd Oswald was not credited for his work on the parachuting scenes, even though those were some of the strongest scenes in the film.)  Even though he was not credited as either a screenwriter or a director, it is generally agreed that the film ultimately reflected the vision of Darryl F. Zanuck.  Zanuck not only rewrote the script but he also directed a few scenes as well.  The film had a budget of 7.75 million dollars, which was a huge amount in 1962.  (Until Steven Spielberg’s Schindler’s List, The Longest Day was the most expensive black-and-white film ever made.)  Not only did the film tell an epic story, but it also had an epic length.  Clocking in at 3 hours, The Longest Day was also one of the longest movies to ever be nominated for best picture.

The Longest Day also had an epic cast.  Zanuck assembled an all-star cast for his recreation of D-Day.  If you’re like me and you love watching old movies on TCM, you’ll see a lot of familiar faces go rushing by during the course of The Longest Day.  American generals were played by actors like Robert Mitchum, Robert Ryan, Henry Fonda, and John Wayne.  Peter Lawford, then the brother-in-law of the President of the United States, had a memorable role as the Scottish Lord Lovat, who marched through D-Day to the sounds of bagpipes.  When the Allied troops storm the beach, everyone from Roddy McDowall to Sal Mineo to Robert Wagner to singer Paul Anka can be seen dodging bullets.  Sean Connery pops up, speaking in his Scottish accent and providing comic relief.  When a group of paratroopers parachute into an occupied village, comedian Red Buttons ends up hanging from the steeple of a church.  When Richard Beymer (who is currently playing Ben Horne on Twin Peaks) gets separated from his squad, he stumbles across Richard Burton.  Among those representing the French are Arletty and Christian Marquand.  (Ironically, after World War II, Arletty was convicted of collaborating with the Germans and spent 18 months under house arrest.  Her crime was having a romantic relationship with a German soldier.  It is said that, in response to the charges, Arletty said, “My heart is French but my ass is international.”)  Meanwhile, among the Germans, one can find three future Bond villains: Gert Frobe, Curt Jurgens, and Walter Gotell.

It’s a big film and, to be honest, it’s too big.  It’s hard to keep track of everyone and, even though the battle scenes are probably about an intense as one could get away with in 1962 (though it’s nowhere near as effective as the famous opening of Saving Private Ryan, I still felt bad when Jeffrey Hunter and Eddie Albert were gunned down), their effectiveness is compromised by the film’s all-star approach.  Often times, the action threatens to come to a halt so that everyone can get their close-up.  Unfortunately, most of those famous faces don’t really get much of a chance to make an impression.  Even as the battle rages, you keep getting distracted by questions like, “Was that guy famous or was he just an extra?”

Among the big stars, most of them play to their personas.  John Wayne, for instance, may have been cast as General Benjamin Vandervoort but there’s never any doubt that he’s playing John Wayne.  When he tells his troops to “send them to Hell,” it’s not Vandervoort giving orders.  It’s John Wayne representing America.  Henry Fonda may be identified as being General Theodore Roosevelt II but, ultimately, you react to him because he’s Henry Fonda, a symbol of middle-American decency.  Neither Wayne nor Fonda gives a bad performance but you never forget that you’re watching Fonda and Wayne.

Throughout this huge film, there are bits and pieces that work so well that you wish the film had just concentrated on them as opposed to trying to tell every single story that occurred during D-Day.  I liked Robert Mitchum as a tough but caring general who, in the midst of battle, gives a speech that inspires his troops to keep fighting.  The scenes of Peter Lawford marching with a bagpiper at his side were nicely surreal.  Finally, there’s Richard Beymer, wandering around the French countryside and going through the entire day without firing his gun once.  Beymer gets the best line of the film when he says, “I wonder if we won.”  It’s such a modest line but it’s probably the most powerful line in the film.  I wish The Longest Day had more scenes like that.

The Longest Day was nominated for best picture of 1962 but it lost to an even longer film, Lawrence of Arabia.

Experience Matters: THE PROFESSIONALS (Columbia 1966)


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A quartet of macho mercenaries – Lee Marvin Burt Lancaster Robert Ryan , and Woody Strode  – cross the dangerous Mexican desert and attempt to rescue a rich man’s wife kidnapped by a violent revolutionary in writer/director Richard Brooks’ THE PROFESSIONALS, an action-packed Western set in 1917.  The film’s tone is closer to Sergio Leone’s Spaghetti Westerns than the usual Hollywood oater, though Leone’s trilogy wouldn’t hit American shores until a year later.

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Rich rancher J.W.Grant (screen vet Ralph Bellamy ) hires the quartet to retrieve wife Maria (Claudia Cardinale) from Jesus Raza (Jack Palance ), formerly a captain in Pancho Villa’s army, now a wanted bandito. Marvin is the stoic leader, a weapons expert who once rode with Raza for Villa, as did Lancaster’s explosives whiz. Ryan plays a sympathetic part (for a change) as the horse wrangling expert, while Strode is a former scout and bounty hunter adept…

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Diluted Noir: Robert Mitchum in THE RACKET (RKO 1951)


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A solid film noir cast headed by Robert Mitchum Robert Ryan , and Lizabeth Scott ; and a lineage that dates back to both a Broadway smash and an Oscar-nominated original can’t save THE RACKET from rising above minor status. Once again, tinkering behind the scenes by RKO honcho Howard Hughes, this time under pressure from Hollywood censorship czar Joseph I. Breen, scuttles a promising premise that coulda been a contender into an average movie.

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City crime boss Nick Scanlon is an old-school hood whose violent ways don’t jibe with the modern-day syndicate. Capt. Thomas McQuigg, “an honest cop” who’s a no-nonsense guy, is determined to take him down. But the city’s rife with tainted politicians, making McQuigg’s job that much harder. Scanlon’s got a headstrong kid brother named Joe dating a “cheap canary” named Irene, and McQuigg plans on using him to get to Nick. Add a crooked DA, a…

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Bloody Pulp Fiction: THE SET-UP (RKO 1949)


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The seedy worlds of professional boxing and film noir were made for each other. Both are filled with corruption, crime, and desperate characters trapped in situations beyond their control.  Movies like CHAMPION, BODY AND SOUL, and THE HARDER THEY FALL expose the dark underbelly of pugilism. One of the best of this sub-genre is THE SET-UP, Robert Wise’s last film for RKO studios. He doesn’t fail to deliver the goods, directing a noir that packs a wallop!

THE SET-UP follows one night in the life of aging, washed up fighter Stoker Thompson ( Robert Ryan ). Stoker’s 35 now, ancient in boxing terms, but still has delusions of making the big time. Wife Julie (Audrey Totter ) is tired of going from one tank town to the next, and fears for Stoker’s safety. She refuses to go to tonight’s fight, a matchup with up and coming young contender Tiger…

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