Sinful Davey (1969)

THE FILM:
Sinful Davey would mark the beginning of John Huston's so called "dry" period. This period, which in Huston's eyes, would last from 1969 to 1975. He made many of his worst films during this area, and he blamed his decline on this film. It was basically forgotten after release, spending only a week in theaters. I had a devil of a time locating this film, eventually finding it on a limited release bare bones edition by MGM. The package it came in is so amateurish, I though in the beginning I was being duped. Anyways, there is a reason this film is little known. It was released six years after Tom Jones, and was generally thought to be a "rip-off" of that film.

The film cast a young John Hurt, ten years before he would break through in Alien and The Elephant Man, as the lead. The cast was filled out by a couple promising young actors and actresses, and Robert Morley, whom Huston had worked with on Beat the Devil and The African Queen. Huston had originally wanted to cast his daughter Anjelica in the lead female role. The producer disagreed, as Anjelica had only appeared in Huston's A Walk With Love and Death up until this point. Huston eventually agreed on Pamela Franklin, but this caused a rift between producer and director, a rift that widened even more when Huston refused to re-edit the film.

Today, where does this film stand? It has a 5.8 on IMDb (that's bad), and 33% on Rotten Tomatoes (also quite bad), and it is barely remembered, if at all. It is one of Huston's most forgotten films, and there's a reason for that....

THE PLOT:
Davey Haggart is a drummer in the British Army. One day, he deserts the army, and begins a life of crime. Davey is inspired by a man who may or may not be his father, an infamous criminal. Davey sets out to up his father, by committing the exact same crimes as him. He does this by dressing up as a Duke, and integrating himself into high society, while conspiring with a fellow pickpocket to rob the same Duke his father robbed. A small wrench is thrown into Davey's plans when Annie, a girl whom he befriended in his youth, is dead set on reforming Davey.

Annie also harbors a great love for Davey, an affection he does not return to her. While Davey seems to end up in bed with every girl he meets, he is still completely ignorant to Annie's love. Can Annie reform Davey before he suffers the same fate as his father, death by hanging?

THE CRITICISM:
....It's not very interesting. It's just an average film, through and through. There's nothing really special going on here, just your typical adventure film. The performances, direction, script, all are perfectly average, and they never excel beyond expectations. This isn't a bad film, but it isn't very good either. As Huston stated himself, it feels very dry. Some parts are exciting, and entertaining enough to light a smile on your face, but nothing here indicates any kind of genius whatsoever.

The best part is easily John Hurt. Hurt is a great actor, and he proves here that he charisma to spare, and was a great lead actor all the same. It's the kind of part that requires little acting, but heaps of presence. Despite being virtually unknown at the time, Hurt acts like he owns the place, and as a result totally owns the character of Davey Haggart. With a better script and director, this could have easily been awesome. However, we do get a glimpse of what could have been through Hurt. Despite the film itself, he excels. I could have easily watched just Hurt going around the country robbing people. That would have been a movie.

The rest of the cast is uniformly blah. We never really care for many of the characters, and the film's light tone makes it hard for us to really feel any stakes towards Davey's fate. Pamela Franklin is the wide-eyed do-gooder who tries to save Davey's soul. Every time she's on screen I checked my watch. She's just not that interesting, and her character's mission doesn't make much sense. I watched the film an hour ago, and she's already began to fade from memory. The rest of the cast, Robert Morley, Nigel Davenport and Ronald Fraser make little impact on the viewer and are easily forgotten, as is most of the movie.

I can't really offer any suggestions as to what would have made the casting better, but I can definitely describe what could have been done to improve the script. Make. It. Darker. I understand why the film wanted to be "light", it appeals to more people. But there is just no sense of danger here at all. Davey's escapades are very entertaining, but with a little malice, or stakes, they could have been much more interesting than what they are. The film feels very "cute", it never really wants to be more than it is. It is in that respect, one of Huston's most sincere films. However, sincerity doesn't equal a good film this time around.

The cinematography is certainly very pretty to look at, although the transfer to home video is very poor, rendering everything looking mute and dull. The film's locations are very nice indeed, and some of the scenes of John Hurt robbing people at a ball are very inventive and help to further the comedy of the situation. the score is rather unremarkable but it, along with the opening song are still quite effective within the movie itself, often helping with the light tone.

The direction is quite typical of Huston, it feels relaxed as if he is just letting the story take place at it's own pace.  It does help that the film has a relatively short running time. At 95 minutes, it certainly does not feel overlong. It could have benefited from a director who was more in tune with what he wanted from the film, but I can't bash Huston's direction completely, as there is nothing that really stands out as awful. There is also, however, nothing that stands out as good either, quite indicative of the film itself.

Overall, is Sinful Davey bad? No. Is it good? Not really. What it is is an hour and a half of John Hurt running around Scotland. You could do worse.

Sinful Davey,
1969,
Starring: John Hurt, Pamela Franklin and Robert Morley,
Directed by John Huston.
6/10 (C-)

RANKED:
1. The African Queen
2. The Dead
3. The Man Who Would Be King
4. Moby Dick
5. The Asphalt Jungle
6. The Red Badge Of Courage
7. The Night Of The Iguana
8. Key Largo
9. The Life and Times of Judge Roy Bean
10. The Misfits
11. Beat the Devil
12. Reflections in a Golden Eye
13. Fat City
14. Wise Blood
15. The Treasure of the Sierra Madre
16. The Unforgiven
17. Under The Volcano
18. Heaven Knows, Mr. Allison
19. Victory
20. The List of Adrian Messenger
21. Annie
22. Prizzi's Honor
23. The MacKintosh Man
24. Sinful Davey
24. We Were Strangers
25. Phobia: A Descent Into Terror

Victory (1981)

THE FILM:
John Huston was nearing the end of his life. Having just finished the under seen, horrifically bad Phobia, he set his eyes on a project that looked incredibly commercial. It was the story of an allied soccer team who played Germany to escape. Having originally been written as a drama, the project Huston overtook was fluff. However, it was commercial fluff, and Huston was short on cash. The film was to star Michael Caine, Sylvester Stallone and Brazilian soccer player Pele.

As soon as filming began, it became clear that Stallone had the biggest ego on set, through his insistence that he score a goal, despite being the goalkeeper (that's impossible in soccer). The film went on to become a modest hit, grossing close to $11 million, and it soon disappeared. Today the film is mostly found in bargain bins and double disks with similar films. It has a 6.4 on IMDb, and a 67% on Rotten Tomatoes. It is essentially a product of it's time, but that doesn't mean it is without perks.

THE PLOT:
We are introduced to Captain Robert Hatch and Captain John Colby, an American and a British officer stuck in a German prison camp in World War II. Colby was once a famous football (soccer) star back before the war. He holds a mutual admiration for Major Karl von Steiner, a former player, and now a German officer. Steiner sees a possible propaganda victory in a soccer team run by Colby, and challenges him to a friendly match. Colby agrees, while the officers around him try and convince him to escape sometime during the game.

It is after Hatch escapes and returns with the knowledge of a way out of the change room during halftime, Colby agrees to get him, and his ragtag team of soccer stars, out. But can they leave victorious as well...

THE CRITICISM:
My first thought when I heard of Victory was, "Wow, that sounds campy." After I saw it, I though "Wow, that was campy." As soon as you see Michael Caine and Max von Sydow as two former soccer stars, you can pretty much give up all hope for a serious film. Although that doesn't mean Huston doesn't try. Or at least he appears to try. Everyone involved takes it so seriously, it's actually kind of funny. There are points where you just start laughing at the absolute absurdity of the situation.

I mean really...a soccer game? The fate of World War Two depends on a soccer game? Well, according to this film it does. And the soccer game is so bad, it's actually entertaining. Don't get me wrong, I am not a huge fan of soccer, but I know that no soccer game can have as many absurd kicks and slow motion goalkeeping while someone yells "Victory!" in the background. The soccer game is so cheesy, that it instantly becomes memorable. That is not to say that the film proceeding it hasn't the same absurd perks.

The opening hour is pretty much just a setup for the big game, with Michael Caine doing a lot of running and shouting while Sylvester Stallone breaks out of prison from the shower. I mean, really... And I'm not even going to mention the ending, which is so implausible that even a six year old could have said "That's impossible!" Stallone could be considered to be the main character, I guess (he is billed first). He does an adequate job, but I have trouble believing that the bulky Stallone and the potbellied Caine are starving POW's. Stallone gets the bulk of the film's most dramatic scenes, which isn't a bad decision, but this is an action film.

At times it appears that Stallone is having a hard time deciding what his character is all about, while reading his lines in the same tone. He can really dive for a ball in slow motion though... Caine, when contrasted with Stallone seems like he's doing Shakespeare. He gives the best performance of the film (meaning he doesn't suck), while actually giving, gasp!, depth to his performance. Caine has always been a great actor, but he still didn't catch onto the campiness of the film, so he plays it straight. This makes it even cheesier, thus making it more entertaining.

There is another actor involved who gives an average performance, Max von Sydow. Von Sydow has always been a great actor, and he may have been the only actor in on the joke. He also portrays the nicest doggone Nazi I've ever seen. He just isn't threatening, but he is entertaining. After Pele gives a slow motion bicycle kick, he stands up and claps with absolute reverence. Oh, and Pele plays for the opposite team than the one he is supposed to cheer for. Just thinking about that moment has me in stitches.

Speaking of Pele, most of the cast is made up of famous soccer players. Besides Pele, who is largely considered one of the greatest soccer players of all time, the film also features Bobby Moore, Osvaldo Ardiles and so on. They all perform greatly on the field, as they do a lot of kicking, and yelling at Germans. The script is an absolute mess, yet it is such an entertaining mess! It walks the thin line between bad and average skillfully.

The cinematography is nothing to write home about, but I must pay tribute to Bill Conti's bombastic score. It is overly patriotic in the best way possible, in someways foreshadowing his terrific score to The Right Stuff. Also bombastic are the sets, particularly the stadium where the pivotal game is played, and contribute to the over the top nature of the film.

And that about brings me to Huston's direction. I know that he was nearing the end of his life, but this film is so lifeless, so devoid of direction, that you could have literally changed the directorial credit to anyone else, and I would have believed it. I do not mean to harp on the same point in every one of these reviews, but it is so frustrating that the film is so languid and relaxed direction wise, it gets me every time. Overall, this film is so bad, it is incredibly entertaining. In a campy sort of way, you could call it a success, but as a film it is definitely lacking.

Oh, and by the way, at one point Sylvester Stallone speaks french. Just thought I'd leave you with that thought.

Victory,
1981,
Starring: Michael Caine, Sylvester Stallone and Max von Sydow,
Directed by John Huston,
6.5/10 (C+)

RANKED:
1. The African Queen
2. The Dead
3. The Man Who Would Be King
4. Moby Dick
5. The Asphalt Jungle
6. The Red Badge Of Courage
7. The Night Of The Iguana
8. Key Largo
9. The Life and Times of Judge Roy Bean
10. The Misfits
11. Beat the Devil
12. Reflections in a Golden Eye
13. Fat City
14. Wise Blood
15. The Treasure of the Sierra Madre
16. The Unforgiven
17. Under The Volcano
18. Heaven Knows, Mr. Allison
19. Victory
20. The List of Adrian Messenger
21. Annie
22. Prizzi's Honor
23. The MacKintosh Man
24. We Were Strangers
25. Phobia: A Descent Into Terror  

We Were Strangers (1949)

THE FILM:
Huston was back. The Treasure of the Sierra Madre was a success, and the war was over. He was back in the game, so he felt the urge to make another film. His next project marked the beginning of a short lived partnership with Sam Spiegel. It was called We Were Strangers. The film was partially adapted from the novel "Rough Sketch", and Huston wrote the script with future collaborator Peter Viertel. They wrote a whole section of the script while staying with Ernest Hemingway, and Hemingway's suggested ending was dropped for being too bleak.

Huston had originally wanted to cast unknown Marilyn Monroe in the lead role, but Spiegel did not want to pay for a screen test. They went with Jennifer Jones and John Garfield in the leads, after getting them on loan from their retrospective studios. Today the film is virtually unknown, it has a 6.6 on IMDb and no score at all on Rotten Tomatoes. Perhaps the future Cuban Revolution made this film seem stale, and that helps explain it's descent into obscurity. Or perhaps it's just a bad film.

THE PLOT:
China is a bank teller living in Cuba in 1933. Her brother is working with a group of revolutionaries who are trying to depose the government. Her brother is caught handing out leaflets for their cause, and he is shot and killed. China grows upset (understandably) and joins the revolutionaries herself. She meets an American named Tony Fenner and he comes up with the plan  to blow up all of the heads of government. To do this, they will use China's house as a base. They will tunnel under the ground to a nearby cemetery. Then they will kill a prominent politician and blow everyone at his funeral up.

The plan gets complicated when the man who murdered China's brother finds China and begins to suspect she is doing something shady. Also, China and Tony begin to fall for each other, all the while Cuba descends into a totalitarian state.

THE CRITICISM:
It is hard to watch this film without taking into account the revolution in Cuba in the late 1950s and early 1960s. That revolution, which put Castro into power, makes this film seem very outdated. Even though it is set in 1933, this film still feels heavily dated and unrealistic. That is not the only problem. This film tries to achieve two objectives, to be a political thriller and a romantic drama, and it fails on both accounts. It appears that Huston just couldn't direct a thriller. Both The MacKintosh Man and The List of Adrian Messanger were spectacularly thrill less.

It is not as if the film is a mess, but it just had no sense of direction. With a better director, someone who cared more, this could have been a pretty good thriller. But Huston's tepid direction is nothing short of boring. Even the veteran actors on display could not save the film. Jennifer Jones is a great actress, but here she is not good. Her role is so poorly written that it just screams cliche. Her Cuban accent is rough and unbelievable. Her line deliveries are stodgy, and her character is just boring. The revenge plot device runs out of steam quickly, and we are left with people digging a tunnel for an hour.

John Garfield is a good actor when given good material, which he is not here. His character is from average
from the get go, and it hurts his performance dearly. He is not accomplishing anything new in this film, and his persona wears thin quickly. The one standout in the cast is Pedro Armendariz. His character's scenes are few, but he has one standout scene which he excels in. That scene is also the highlight of the film, due much to Armendariz's talent.

The script seems to never know what it wants. It jumps back and forth between political thriller and romance. The romance seems forced, and the political side seems dated. And of course, the thrills are non-existent. The script however could have been improved, and it could have made for a good film. That, unfortunately, was not the case.

The cinematography is actually quite good. It is shot like a film Noir, with terrific lighting. However, Huston's camera refuses to be original or move much. It stays completely still, bringing an air of stuffiness to the screen. The score is good enough to listen to, but you forget about it completely after the film ends. It is just like the film, unmemorable.

I have talked often about Huston's laid back style of direction.  It can definitely work for some kinds of films, but you can not direct in a thriller in a relaxed fashion! The whole point of a thriller is to thrill, not to just show stuff that can be considered thrilling. You have to put your camera into the scene, you have to make audiences feel the stakes. This film does none of that. And of course, the film is so anticlimactic. **SPOILER ALERT** Just after they kill a politician and are having the bomb made, they find out that the funeral is being held somewhere else. All the work they did was for nothing, and that's it. That's the end. Then there is a shootout and the revolutionaries win! **SPOILER ALERT**

It feels so false, that it becomes hard to take the film seriously. Perhaps I am bashing this film too hard, but I can't help it. This kind of boring, thrill less exercise feels like a waste of my time. It is not that bad of a film, but it is definitely not as good as it could have been. It left me just as quickly as it came to me, and it is one film I do not think I will see ever again.

We Were Strangers,
1949,
Starring: Jennifer Jones, John Garfield and Pedro Armendariz,
Directed by John Huston,
5/10 (D-)

RANKED:
1. The African Queen
2. The Dead
3. The Man Who Would Be King
4. Moby Dick
5. The Asphalt Jungle
6. The Red Badge Of Courage
7. The Night Of The Iguana
8. Key Largo
9. The Life and Times of Judge Roy Bean
10. The Misfits
11. Beat the Devil
12. Reflections in a Golden Eye
13. Fat City
14. Wise Blood
15. The Treasure of the Sierra Madre
16. The Unforgiven
17. Under The Volcano
18. Heaven Knows, Mr. Allison
19. The List of Adrian Messenger
20. Annie
21. Prizzi's Honor
22. The MacKintosh Man
23. We Were Strangers
23. Phobia: A Descent Into Terror  

The MacKintosh Man (1973)

THE FILM:
Paul Newman and John Huston had a blast filming The Life and Times of Judge Roy Bean. They had so much fun on that film, that they instantly tried to duplicate it. The result was not only unsatisfying, it also marked the end of Huston and Newman's short partnership. The film was The MacKintosh Man, and it was a middling failure. It failed to ignite the box office on fire, and it has been virtually forgotten. It's not even Huston's most famous spy thriller. 

There really is not much to discuss about the film. It was the last Huston made in his beloved Ireland, just before he left. It boasted Dominique Sanda's first English turn, and a villain portrayed by the terrific James Mason. It also contained a screenplay by Walter Hill, who would go on to do much better things. It was Huston's last film in his self proclaimed dry period (which lasted from Sinful Davey to this film). It was by all counts, a failure.

THE PLOT:
James Reardon is a member of British Intelligence that is called by his boss MacKintosh, to infiltrate a spy organization. To do so, he puts on an Australian accent and robs a postman. He is convicted and sent to jail. There he is approached by a man who offers to help him escape, claiming to be part of an organization. He is helped, but at the same time he is distrusted. Back in London, MacKintosh is trying to tie a prominent London politician into the Soviet(?) scandal. 

However, MacKintosh gets too close and is assassinated. Reardon too is in danger. MacKintosh's secretary and daughter (once again?) flies up to Ireland and together they track Soviet spies, but their own lives are at risk.  Can they make it?

THE CRITICISM: 
This is the film's tagline: "Only MacKintosh can save them now. And MacKintosh is dead!". Wow...when I first heard that tagline I doubled over laughing. Which is precisely one more laugh  than I got from this film. There are so many things wrong without this film, I could make a list....hey I've got enough time! Paul Newman plays a British man playing an Australian, sounding like an American. It is hard to understand what Dominique Sanda is saying, and her line delivery can be awful (ex."No, he was my father".). MacKintosh is in the title, and he is in the film for...five minutes. The plot is deliberately confusing. I had no idea what was going on until I looked it up later. Even then, it made no sense. James Mason's villain is paper thin, and the whole Soviet subplot is just a mess.

However, the whole thing manages to break even.  It is not the worst film Huston made (ahem, I'm looking at you Phobia), but it is far from his best. The whole cast seems incredibly bored, but no one is more bored than Paul Newman. This may very well be the worst performance I have ever seen Newman give. His rendition is so blank and oh so very boring, that at points you want to scream at him to show some of that famous Newman charm. Perhaps he was all charmed out, he made The Sting the same year. Still, he is one of the most dull and lifeless protagonists I've seen in a long time.

However he does not give the worst performance of the film. That honour goes to Dominique Sanda. I loved her in Il Conformista, but her performance her has me doubting my initial affection.  She too manages to be effortlessly wooden, but with a French accent! Harry Andrews, who plays MacKintosh is charming, but he gives no idea why anyone would have a whole plot revolve around him. Perhaps the one saving grace here is James Mason, he is good. My god, how I longed for some kind of charm! His character is poorly written, yet he manages to be...average!

The script is entirely pointless. It makes no sense, and is unnecessarily confusing.  It is fulled with pointless exchanges, and scenes were literally nothing important happens. There is a five minute sequence were Sanda and Newman talk, while they tan. That's it. But perhaps the greatest example of shoddy scripting occurs during the climax.  Ahem, **SPOILER ALERT**. Sanda has been kidnapped, and Newman must save her from Mason's evil claws, because....he has to save her. So he goes onto a boat and knocks a sailor on the head, and demands to be taken to her, and then...he is. No chase sequence or exchange of dialogue, that's..it. Then the sailor takes him to Sanda, and he talks to James Mason for a while, about...nothing. I'm pretty sure they bring up chess at one point. **END SPOILERS**

Correct me if I am wrong, but aren't thrillers supposed to...thrill? If they are, than this is most certainly not a thriller. It may seem as if I am bashing the film relentlessly (I am), but the film is not without it's good points. It has some beautiful cinematography. The chase(?) scene through the foggy Irish lowlands is beautiful, even if it is more landscape than cinematography. The score by Maurice Jarre is also very good. It is cheerful and fun, something that Huston should have payed more attention to during the making of the film.

Speaking of Huston, he directed this? After all it contains no directorial input, it could have shot itself. It is so boring and uninterestingly shot, it seemed like Huston just gave directing and let the story play itself out. Bad move. It's plot isn't very remarkable, but it could have been at least a little bit thrilling. Huston said himself that he hated the film, and it isn't hard to see why. It is a tepid, middling entry in Huston's filmography, and one I hope to never revisit again.

 The MacKintosh Man,
1973,
Starring: Paul Newman, Dominique Sanda and James Mason,
Directed by John Huston,
6/10 (C-)

RANKED:
1. The African Queen
2. The Dead
3. The Man Who Would Be King
4. Moby Dick
5. The Asphalt Jungle
6. The Red Badge Of Courage
7. The Night Of The Iguana
8. Key Largo
9. The Life and Times of Judge Roy Bean
10. The Misfits
11. Beat the Devil
12. Reflections in a Golden Eye
13. Fat City
14. Wise Blood
15. The Treasure of the Sierra Madre
16. The Unforgiven
17. Under The Volcano
18. Heaven Knows, Mr. Allison
19. The List of Adrian Messenger
20. Annie
21. Prizzi's Honor
22. The MacKintosh Man
23. Phobia: A Descent Into Terror  

The List Of Adrian Messenger (1963)

THE FILM:
Having just completed the exhausting film that was to become Freud, John Huston set his sights on a new project, The List of Adrian Messenger. The script had been written by Tony Veiller, whom Huston had worked with before. It was a little thriller, set mostly on an estate in Ireland, a favourite place of Huston's. It also involved a climax taking place during a foxhunt, one of Huston's favourite activities. It also seemed like the kind of slight thriller he could make quickly and with little expense.

He cast the American George C. Scott as the British Anthony Gethryn, the film's lead. As a marketing gimmick, he cast many famous actors in cameo, under heavy disguise. At the end of the film, each actor reveals themselves. The film was made quickly, and cheaply. It didn't set the box office on fire, however, and by then Huston was in Mexico shooting The Night Of The Iguana. Today, the film is barely remembered, and when it is, it is often the central gimmick remembered, not the film itself.

THE PLOT:
Anthony Gethryn is enjoying a weekend in the country with an old flame, Lady Jocelyn, and her cousin Adrian Messenger. Then, after a foxhunt, Anthony is pulled aside by Adrian, and Adrian gives him a list of names. He tells Anthony to look into their names, but doesn't give any reason why. Adrian then leaves for America, but en route his airplane explodes, and he dies. Anthony begins to look into the names, before realizing that most of them are dead.

He then meets with a man who tells him Adrian's last words. Suddenly, he begins to realize that someone wanted him dead, and everyone on his list as well. Along with Jocelyn and a man named Raoul, Anthony slowly begins to realize that a massive conspiracy is underway, but it is too late?

THE CRITICISM:
In order to make a good thriller, one must have three components. A plot that contains an amount of mystery, a lead with whom you can cheer for, and a feeling of palpable dread. The List of Adrian Messenger has none of the above. Does that make it a bad movie? No, but it certainly doesn't make it a good thriller. It appears to be Huston just sitting back and resting. Indeed, when I read the plot summary, I thought the premise was very good indeed. It sounded exactly like the stuff good thrillers were made of.

Of course, it wasn't. Huston wasn't nearly involved enough to give the film any edge whatsoever. The entire affair felt as if Huston was just going through the motions. Despite the outstanding cast, Tony Curtis, Burt Lancaster, Robert Mitchum, Kirk Douglas, Frank Sinatra, Dana Wynter, and George C. Scott, only Scott, Wynter and Douglas are on screen for any measure of time. In fact, most of the film rests on the shoulders of Scott.

George C. Scott is an outstanding actor, but here, despite the initial shock of "it's George C. Scott with a mustache!" he doesn't really do much with the character. The British accent is admirable, but even it soon wears thin (along with the mustache), and in fact his character is surprisingly dull. It doesn't help that he is given some really bad lines ("This is not the work of many men, but one man who is many men!"), but a veteran actor like Scott should have been able to flush out his performance.

Dana Wynter was perfectly suited to be furniture, and her performance is wooden as a board, but not because of her. It isn't fault that her character is perfectly useless. There is a connection between her and Scott's character mentioned, but it is dropped after a few lines. Jacques Roux, who plays Scott's sidekick also suffers from having nothing to do. The juiciest part of the film goes to Kirk Douglas, as the man who is many men, and he is good. The thing is, he isn't given enough time to show his evilness, and the film's lightweight tone doesn't help him either.

The celebrity cameos never elevate above gimmick, and the film doesn't showcase the cameos enough for the audience members to guess who is who. The script had promise, but under Huston's monotonous direction, the plot never really excites. In fact the film's tone is so light, one could mistake it for a satire, similar in tone to Beat the Devil. The first half really makes this seem as if it was actually what Huston wanted. However, when the second half begin, it is made clear that this is not a comedy, much to the film's detriment.

The makeup used to hide the celebrities is actually not half bad, but it makes the skin of the mask look very old, and plastic like. Still, it is convincing enough to hide many celebrities, and it makes for an interesting enough ending. The film's sets are really basic, and even the climax is kind of boring. The plane crash scene looks intensely amateurish, especially when compared to a similar scene in Hitchcock's Foreign Correspondent in 1940.

The cinematography is one note, and never becomes that interesting. The foxhunting scenes are the best shot scenes of the film, but the sport itself is rather confusing to me. Which brings me to the direction by Huston. Lax doesn't describe it. Anyone could have shot this film, and none of Huston's usual trademarks can be seen. It is a very boring exercise, only because no one seemed interested in the film, except Kirk Douglas. And even Douglas wasn't allowed to do much because Huston wasn't doing much.

In short, what could have been a great thriller falls short of it's target. It still manages to entertain, but not nearly as much as it could have.

The List of Adrian Messenger,
1963,
Starring: George C. Scott, Kirk Douglas and Dana Wynter,
Directed by John Huston,
6/10 (C-)

RANKED:
1. The African Queen
2. The Dead
3. The Man Who Would Be King
4. Moby Dick
5. The Asphalt Jungle
6. The Red Badge Of Courage
7. The Night Of The Iguana
8. Key Largo
9. The Life and Times of Judge Roy Bean
10. The Misfits
11. Beat the Devil
12. Reflections in a Golden Eye
13. Fat City
14. Wise Blood
15. The Treasure of the Sierra Madre
16. The Unforgiven
17. Under The Volcano
18. Heaven Knows, Mr. Allison
19. The List of Adrian Messenger
20. Annie
21. Prizzi's Honor
22. Phobia: A Descent Into Terror

Key Largo (1948)

THE FILM:
After World War II, John Huston was eager to get back into the business. After The Treasure of the Sierra Madre, Huston came upon Maxwell Anderson's play Key Largo. He decided to do it, but only after completely rewriting the entire play. After completing the script, he went to the studio and, contrasting with Sierra Madre, he shot it entirely within the studio.  The film featured a cast of Hollywood heavyweights, including Humphrey Bogart, Edward G. Robinson and Lionel Barrymore.

Despite the fact that it was well received, the film has faded into relative obscurity. It won an Oscar for Claire Trevor, but that was the extent of it's awards. This is really quite sad, as it is excellent.

THE PLOT:
Ex-Army Major Frank McCloud travels down to Key Largo, in order to pay his respects to the family of one of his fallen comrades. When he gets there, the hotel they run is being inhabited by city men of the shady kind. He gets a drink from a woman at the bar, and then goes out to meet the family. At the same time, the hotel receives a storm warning, a hurricane is on the way. They shut up the hotel, and then it is revealed that the shady men are working for Johnny Rocco.

Rocco was a Prohibition era gangster, and he is in Key Largo to collect a payment. As the hurricane comes and the characters are all trapped under the same roof, danger ensues.

THE CRITICISM:
If Hollywood was good for one thing in the 1940s, it was making films like this. This kind of adventure film speaks to the masses, while still managing to entertain. This was the kind of action film you got back then, except less action and more buildup and talking. This is the kind of film they don't make anymore, and the kind I wish they did. A film like this doesn't need a good director, or a good plot, just good actors and great dialogue. This film has all of the above.

The acting is consistently excellent. Humphrey Bogart plays his typical stoic hero, but that's okay because the part never gets old. Lauren Bacall does good work as the widow of Bogart's old army buddy, but her part is the most cliched and uninteresting. Still, she holds her own against the rest of the cast. Lionel Barrymore is also quite good, a contrast to his despicable character in It's A Wonderful Life the year before.

However the two standouts among the cast are Edward G. Robinson and Claire Trevor. Robinson gives a performance that acts like a swansong to the gangster characters he cut his teeth on in the 1930s. He is crass, rude and evil, yet he has a bit of heart. You don't cheer for him, but you do feel sorry for him. However the pity you feel towards Robinson is nothing compared to that of which you feel towards Claire Trevor.

While Trevor mainly stays in the background for the film, she does come out in one terrific scene that definitely justifies her Oscar win. In the scene, she sings one of her old songs so that Robinson will give her a drink. Trevor makes the best of the scene and her rendition is pitiful. Robinson won't give her the drink, but Bogart gives it to her anyways. It's one of the film's best scenes.

While the performances are quite good, they wouldn't work if it were not for the great dialogue by Huston and Richard Brooks. While not endlessly quotable like Casablanca, their writing does give the story it's edge, and it works perfectly, although there is one line that comes out of nowhere that doesn't quite fit. The last scene, borrowed from To Have and Have Not, is a thrilling end to the story, and although it may be called cheesy by some, I believe that it was the perfect way to end such a film.

The cinematography is rather simple, but for a stage bound film like this, it is perfectly adequate.  The score is unmemorable, or maybe there was no score. If there was it was too boring to remember. The hurricane scenes are surprisingly well done, and the sets are well built and convinces. For a studio production, it sure tries hard to make it look realistic.

Now to Huston's direction. While this story really carries no directorial trademark, it is still very well done and thrilling. Huston keeps an iron grip over the story, and though his direction is lax, it still accomplishes what it needs to.

Overall, I found this film to be a nifty little thriller. It is very entertaining and still contains enough to think about afterwards. Definitely one I'd watch again.

Key Largo,
1948,
Starring: Humphrey Bogart, Edward G. Robinson and Lauren Bacall,
Directed by John Huston,
8.5/10 (A)

RANKED:
1. The African Queen
2. The Dead
3. The Man Who Would Be King
4. Moby Dick
5. The Asphalt Jungle
6. The Red Badge Of Courage
7. The Night Of The Iguana
8. Key Largo
9. The Life and Times of Judge Roy Bean
10. The Misfits
11. Beat the Devil
12. Reflections in a Golden Eye
13. Fat City
14. Wise Blood
15. The Treasure of the Sierra Madre
16. The Unforgiven
17. Under The Volcano
18. Heaven Knows, Mr. Allison
19. Annie
20. Prizzi's Honor
21. Phobia: A Descent Into Terror

The Night Of The Iguana (1964)

THE FILM:
In the early 60s, Tennessee Williams's new play was a big hit on Broadway. This success got John Huston interested in the subject. The setting, Mexico, only excited him more. He bought the rights, and decided to shoot it. For the cast, he choose a group of veteran actors and one new hot prospect to flesh out the roles. The lead was to be played by Richard Burton, who had gathered quite an entourage by this point due to his affair with Elizabeth Taylor.

Huston thought that problems should be avoided at all cost, so he equipped all cast members with 6 guns, and 6 bullets with the names of all the other members of the cast on it. There were no problems during shooting. Williams's himself came down to Mexico during the shoot to watch over Huston's direction. In the end, the film was made quickly and efficiently. It grossed a healthy budget, and everyone walked off satisfied.

As did I.

THE PLOT:
Reverend Shannon is a defrocked priest. He roams the wilderness of Mexico as a tour guide for a cheap bus company. He is a drunkard, and in his party he contains a bunch of baptist teachers from Texas. One girl in his party, Charlotte has a crush on Shannon. Her guardian is deeply suspicious, and Shannon tries to ward off her advances, but he is unsuccessful. He is caught, and when threatened by Charlotte's guardian the fear of losing his job becomes too much. He drives his party to an old hotel in the middle of the jungle, to meet Maxine, and old friend.

He keeps the tour group in the hotel until he can change their minds, and possibly save his job. At the same time, an old poet and his granddaughter also arrive in the hotel, and then day fades into night...

THE CRITICISM:
I do not like Tennessee Williams. I've seen A Streetcar Named Desire, Suddenly Last Summer and this film. While Streetcar is very overrated, it at least had great performances, and some kind of cohesive plot. Suddenly Last Summer is a plot less mess, and only Katherine Hepburn's performance made it bearable. However, this film is an exception. I genuinely enjoyed it, even on my second viewing.

The performance's are excellent, for the most part. Richard Burton gives his character a crazed energy that showcases exactly how good an actor he was. The material is putty in his hands, and he morphs it into a man whom could be deemed disgusting, and who becomes quite relatable. His character is pitiful yet entertaining at the same time, thanks to Burton's talent. Ava Gardener, whom one could deem as past her prime in this film, sparkles with a repressed sadness.

Gardner may have been popular in the 40s and 50s, but here she truly shows that she can act. Her Maxine is similar to Burton's character, she contains a repressed sadness that only bubbles out in the end. However, the true delight of the film for me was Deborah Kerr. I've always thought that Kerr was immensely talented, but here she shows exactly how talented. She never succumbs to being over the top, and dominating the film. Instead the exact opposite occurs. It is only later, when one reflects on the film that Kerr's true brilliance is revealed.

For example, there is one monologue that she gives that takes up about five minutes, but I never got bored. I did not because I kept watching Kerr's face and admiring her talent. it is only on re watching the film that I truly understand what drew me to Kerr's portrayal in the beginning. Sheer brilliance. Also excellent is Grayson Hall as the cloying chaperone, and Cyril Delevanti as the world's oldest poet. However, if there is a weak link in the cast, it is certainly Sue Lyon.

Fresh off her debut in Stanley Kubrick's Lolita, Lyon here does a lot of pouting. And flirting woodenly. Don't get me wrong, she certainly looks the part, but she doesn't act it well. Her line deliveries come off as flat, and uninteresting. She was good in Lolita, but perhaps it was the director that shaped her performance in that film. Here, she is the most boring character, instead of one of the most interesting.

While I do not like Tennessee Williams as a writer, he could certainly write great parts for actors. He was also a quick thinker, apparently. In Huston's autobiography, he states that a scene in the film was coming off flat, and then Williams told him to have Burton knock over a glass bottle, and have him walk over. That little thing immensely helps the film.

The writing is good for the most part, but the story is kind of soapy. Still, if you go with the flow, the end result is quite entertaining. The cinematography is vibrant and although the film feels stagey in some parts, the cinematography elevates it from the stage, and into the jungle's of Mexico. The score is also quite good, especially for a Huston film.

Speaking of Huston, his direction here is vibrant and it feels alive. It feels as if he just recharged his batteries and came out of the gates running. To be fair, it does appear as if Huston directed the film in his normal style, but I can't help feeling entertained. His relaxed direction is confident and it works well. While Huston mainly directed novels, after this film, I'd love to see him do another play.

While, it may be outdated and stagey, this film is still incredibly entertaining and the cast is uniformly terrific.

The Night Of The Iguana,
1964,
Starring: Richard Burton, Ava Gardener and Deborah Kerr,
Directed by John Huston,
8.5/10 (A)

RANKED:
1. The African Queen
2. The Dead
3. The Man Who Would Be King
4. Moby Dick
5. The Asphalt Jungle
6. The Red Badge Of Courage
7. The Night Of The Iguana
8. The Life and Times of Judge Roy Bean
9. The Misfits
10. Beat the Devil
11. Reflections in a Golden Eye
12. Fat City
13. Wise Blood
14. The Treasure of the Sierra Madre
15. The Unforgiven
16. Under The Volcano
17. Heaven Knows, Mr. Allison
18. Annie
19. Prizzi's Honor
20. Phobia: A Descent Into Terror