John Grant

Ronald Colman, Celeste Holm and Vincent Price star in a thoroughly delightful comedy from 1950 called “Champagne for Caesar.” Colman plays Beauregard Bottomley, a voracious reader who cannot find a job. He rails against the threats to the country’s intellectual standards when he sees the television quiz show “Masquerade for Money,” sponsored by the Milady Soap Company and starring glib pitchman Happy Hogan (Art Linkletter). Contestants must dress up in ridiculous costumes for a chance to answer tough questions. Each correct answer doubles the amount of money won, but contestants can quit and go home with their winnings at any time.

The movie poster for “Champagne for Caesar.”

Beauregard lives with his sister Gwenn (Barbara Britton), who pays the rent by giving piano lessons. She provides very little pressure on Beauregard to get a job, but he nevertheless forges out to apply at the Milady Soap Company. The company is run by the eccentric Burnbridge Waters (Vincent Price), who discovered Happy Hogan and surrounds himself with yes men. Burnbridge hires Beauregard but then fires him almost immediately when he makes a joke about soap. Already critical of the soap company’s sponsorship of the mindless drivel of the quiz show, Beauregard decides to take revenge on Burnbridge for firing him. He comes up with an ingenious plan: Get on the quiz show and win enough money — $40 million — to put the soap company out of business.
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After Beauregard wins for a couple of weeks on the show, the arrogant Burnbridge tries to buy him off. Beauregard refuses and tells him he plans to go on winning until he can take over the company. Burnbridge fires back with a plan of his own. He sends Happy Hogan to take piano lessons from Gwenn so Hogan can discover Beauregard’s weakness. This backfires when Hogan falls in love with Gwenn. Burnbridge then sends a con woman named Flame O’Neill (Celeste Holm) to put Beauregard off his game. Flame shows up dressed as a nurse while Beauregard recuperates from a bad cold and he quickly becomes smitten with her. Beauregard’s infatuation with Flame makes him a bit addled. This seriously jeopardises Beauregard’s plans as the quiz questions get harder to answer.

Price provides comic gold in his portrayal of Burnbridge, a thoroughly ruthless character who pulls out every trick to prevent Beauregard from ruining his company. Holm is terrific as Flame, a woman Beauregard should easily mistrust but he nevertheless falls in love with her against his better judgement. The Caesar in the title refers to a noisy parrot, who provides a series of one-liners based on his supposed love for alcohol. The movie also provides an funny take from the movies on television, and especially vacuous quiz-show hosts. This movie kept me laughing.

As one of the most talented Hollywood refugee’s of the blacklist era, Jules Dassin went to Europe and never looked back. He’s responsible for some remarkable films, including “The Naked City (1948)” and “Thieves Highway (1949)” during his Hollywood years, and “Rififi (1955)” and “Topkapi (1964)” during his European “exile.” One should also not overlook “Never on Sunday,” a 1960 Greek film starring Melina Mercouri. Mercouri won the best actress award at the 1960 Cannes Film Festival for her role as Ilya, a happy and confident prostitute in a small Greek port.

Jules Dassin (right) wants to reform Melina Mercouri in “Never on Sunday.”

Dassin himself stars in the film as an American scholar named Homer Thrace who loves the Greek ideal of learning and understanding the great philosophers, and achieving an advanced appreciation of music. The film opens with Ilya going down to the docks, stripping down to her underwear, and throwing herself into the harbor. As she swims, she calls for the dockworkers and boatmen to join her. She clearly enjoys her life and the many men in her circle worship her despite her profession. Other prostitutes appear in this farce but none of them are as popular as Ilya.
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Homer likes Ilya too, but he disapproves of her lifestyle. He criticizes Ilya and the men in the town as he attempts to make her reform. She shows little interest in his plans at first, but agrees to a two-week experiment conducted by Homer about righteous living. Homer introduces her to classical works of music and literature, as well as the paintings of Picasso and others. During this time, she’s not available for hire, which displeases the men in the village greatly. When Ilya sings the “Never on Sunday” song, it makes perfect sense to the plot. Ilya’s love of Greek village life is emphasized, indicating that she never really needed redemption at all.

Mercouri’s outstanding performance carries the movie. She becomes a strong female leader to the other prostitutes while thoroughly delighting every man town. A subplot involves a landlord who provides rooms for the prostitutes but charges too much for rent. A rebellion by the women against the landlord brings some unexpected camaraderie, and provides a logical climax to Homer’s silly experiment. It’s unclear why Homer expected to “save” Ilya, since even her unconventional lifestyle must fall into at least one of the ancient Greek philosophies. It’s lucky for him that the clannish nature of the people in this seaport town didn’t take revenge on him, but Dassin’s script clearly makes Homer out to be the main fool in this farce.

It’s hard to imagine a more moving cinematic experience than the three films Satyajit Ray made in the 1950’s about the youth and young adulthood of Apu. The “Apu Trilogy,” which starts out with 1955’s “Pather Panchali,” also includes “Aparajito (1956)” and “Apur Sansar (1959).” Ray’s stunning first movie, Pather Panchali, takes place in an impoverished Bengali village in the 1920’s. It begin’s before Apu’s birth, and focuses on a family living in a run-down house facing the problems of feeding themselves. Precocious daughter Durga (Runki Banerjee) steals a mango from an orchard owned by her much more well-off cousins, and the relatives are not happy about it. Durga returns home to give the fruit to her elderly aunt, the spirited but crippled Indir (Chunibala Devi). Durga’s constant thievery causes a scandal in the village, but her mother Sarbojaya (Karuna Bannerjee) is unable to stop her.

Subir Banerjee as Apu (left) and Uma Dasgupta as Durga in “Pather Panchali.”

Since Ray sets up the film as part of a trilogy, he takes his time with the plot, allowing a full immersion in the realist events taking place in the village. Supposedly, Ray became influenced by Vittorio De Sica’s “Ladri di Biciclette (Bicycle Thieves),” the 1948 realist masterpiece he saw while visiting London. That film also features a young boy in a prominent part, and both films portray endearing innocence caught in the reality of relentless poverty. Both films also feature a father who strives hopelessly to feed and shelter his family. Apu’s father, Hari, writes poems and plays, but makes a meagre living as a priest and sometime bookkeeper. He must leave home for work for months and this causes disillusionment from Sarbojaya, who resents sharing the family’s few resources with Indir. Their constant conflict presents most of the dramatic development in the film until Apu arrives.

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An Indian friend told me he doesn’t like the film’s ultra slow pacing, but I think it captures perfectly the pace of village life. Since the film takes place over a long period of time, we can gradually absorb the setbacks and small triumphs and feel them as profoundly as we would feel them in real life. The story takes a much more direct turn to Apu’s story in the second (Aparajito or “The Unvanquished”) and third films (Apur Sansar or “The World of Apu”), so it’s nice that Pather Panchali (or “Song of the Little Road”) provides such a starting point. Apu’s triumphs in the later films have a lot more impact when one considers his impoverished past.

Pather Panchali is a must-see picture, a stunning realist portrait of Indian Village (Bengali) life, and a miracle of filmmaking. It’s become only recently available on Netflix, which is good because it’s the kind of film that can be watched again and again with new appreciation. Ray took three years to film it while constantly seeking funding throughout, but he delivered a true masterpiece. Pather Panchali deserves as much acclaim as any realist film, including Bicycle Thieves.

The turbulent history of “Lost Horizon,” the 1937 Columbia Pictures movie directed by Frank Capra and starring Ronald Coleman, shows the passion of film restorers who searched the world for images for a movie that came close to being mostly lost forever. The current version of Lost Horizon, although not perfect, presents us with a memorable and moving story with a vast and important theme about a utopian paradise in a world torn apart by greed, violence and war.

Ronald Coleman and Jane Wyatt in “Lost Horizon.”

Lost Horizon opens at an airport in China, where British diplomat Bob Conway, is entrusted with assuring the safety of foreign citizens caught in the midst of a civil war. The frantic westerners scramble to get on the last plane leaving the airport. The motley cast of characters get on the escaping plane while the bullets fly from attacking rebels. The passengers include Edward Everett Horton as geologist Lovett, John Howard as Conway’s brother George, Thomas Mitchell as an industrialist named Barnard and Isabel Jewell as Gloria, a bitter American woman suffering from an incurable lung disease.

As the plane flies over a mountainous region, the passengers discover that the sun seems to shine on the wrong side of the plane, indicating it’s going the wrong way. Fearing for their safety, Conway and the others confront the pilot who pulls a gun on them. While fear overtakes the characters, Bob Conway cautions them calmly to let fate solve the problem. Soon the plane crashes in the mountains and a group of friendly tribesman takes them to a paradise called “Shangri La.” The main conflict in the movie involves George Conway’s mistrust of the people in their new home and his continuous attempts to make his escape. Ironically, even though leaving Shangri La involves an arduous and very dangerous trip through the mountains, the officials of the village make no attempt to keep them there. All the mistrust and unfortunate plotting by George comes out of his own prejudices and traditional western beliefs about entitlement and ambition.
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In a place where the natives believe in moderation, nobody grows old, diseases become miraculously cured, and everyone can eventually find their happiness. Bob has many talks with a civic leader named Chang, played by H. B. Warner, who discusses utopian philosophy including such concepts as “Age is a limit we impose upon ourselves.” Further clarification of Shangri La’s values comes from the High Lama, played by Sam Jaffe. The High Lama believes in the power of philosophy taught by the world’s great books.

John Howard’s performance as George undermines the film since he’s constantly frantic and not British. It’s never explained why George has an American accent. Jane Wyatt plays the wise and wonderful Sondra, who becomes Bob’s love interest after he arrives at Shangri La. George also becomes attached to the only disaffected citizen of Shangri La, a beautiful Russian woman named Maria (played by Margo) who desperately wants to get out of the village. However, the film never makes it clear why she wants to leave.

As one of the most important of Frank Capra’s movies, Lost Horizon serves as a fascinating portrait of a film that is ahead of its time. Perhaps the mishandling of the film over the years reflects the world’s (and Colombia Pictures) conflicting opinions about the nature of utopia; at every stop along the film’s journey to the current restoration, distributors cut and spliced the film into battered remnants. Although not perfect, the current print remains essential viewing for fans of Frank Capra and cinematic history.

Maureen O’Hara and Errol Flynn perform some wonderful swashbuckling action in “Against All Flags,” a glorious 1952 pirate movie that also stars Anthony Quinn. Flynn plays Brian Hawke, a Royal Navy officer working undercover to defeat a rowdy bunch of pirates working out of Madagascar. O’Hara plays a tough pirate captain named Prudence “Spitfire” Stevens with amazing swordsmanship and a knack for getting what she wants. The fun begins when Spitfire meets Brian, who she immediately takes to despite her inherent mistrust of any and all men. The grouchy Quinn, who plays Captain Roc Brasiliano, the main pirate, wants to quickly dispatch Hawke to a painful death.

Maureen O’Hara plays Spitfire in “Against All Flags.”

The movie opens with a scene of Brian receiving a flogging on a British naval ship. Soon, the captain explains the flogging as a cover for Brian’s new assignment, which is to infiltrate the pirate’s nest on Madagascar. He’s to play a deserter who joins the pirates and learns as much as he can about their operations. On Madagascar, Brasiliano orders Brian to be taken prisoner, but Spitfire takes the opportunity to kiss him while he’s bound to a chair. Although Brian likes Spitfire as much as she likes him, her unpredictability and considerable fighting skills make approaching her too abruptly a dangerous proposition. Brasiliano also fancies Spitfire, but she will not be pushed into anything.
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In order to gain Brasiliano’s confidence, Brian agrees to being his first mate. The first ship they seize turns out to be an Indian boat on a pilgrimage to Mecca. Brain warns him that taking such a ship will bring the full force of the British Navy down on him, but Brasiliano boards the ship and seizes the rich cargo of offerings and about a dozen maidens. Mildred Natwick plays the maidens’ English governess, and she’s hiding an Indian princess, Princess Patma, played by Alice Kelly. Naturally, the princess falls for Brian, which causes some later jealousy with Spitfire. Brasiliano orders the Princess to be sold as a wife for one of his men, and the auction becomes a spirited bidding war between Brian and Spitfire. She does her best to keep Patma away from him.

Brasiliano’s eventual showdown with Brian finally occurs, as the duo wages a swordfight to the death. Spitfire also impressively does some wonderful sword fighting, and she always acts like a true pirate. She softens only a few times during the film, which helps keep the pressure on Brian as he faces almost insurmountable odds.

I expect Fritz Lang to deliver a well-crafted and interesting drama no matter what the subject, but 1937’s “You Only Live Once,” starring Henry Fonda and Sylvia Sidney holds together beautifully on Fonda’s impressive performance. Fonda plays Eddie Taylor, an ex-convict desperately trying to keep out of trouble. Sidney plays Joan Graham, the secretary for Eddie’s public defender Steven Whitney (Barton MacLane). She remains Eddie’s long-suffering wife as he faces prejudice and uncertainty as an ex-con.

With Eddie already convicted 3 times for various offenses, prison Warden Wheeler (John Wray) warns Eddie that a fourth conviction could mean a life sentence. Eddie promises to do everything he can to avoid another arrest, and looks forward to his new job as a free man driving with a trucking company. Just out of prison, Eddie marries Joan and they buy a house. Eddie’s trucking boss, however, mistrusts the ex-con from the beginning and acts rude and surly towards him. Eventually, the boss finds a way to fire Eddie, putting him in desperate circumstances just as he signs a mortgage.

At this point, You Only Live Once does what a lot of movies do. Instead of having Eddie tell Joan about his misfortune with the trucking company, Eddie decides to keep quiet about it. Joan goes on a shopping spree to furnish the house while Eddie nervously ponders a way out of situation. The easy way for Eddie would be to work with his own gang again, but at this point the audience still believes Eddie will finally go straight. Eventually, in a very well filmed scene, a truck driver, wearing a gas mask, gasses some armored truck guards outside a bank and makes off with bags of cash. Although we don’t see Eddie’s face, the audience assumes Eddie’s guilt, especially when Eddie soon goes on the run.
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Sylvia Sidney and Henry Fonda take to the road in “You Only LIve Once.”

The police soon catch Eddie and we learn that a few of the armored truck guards died in the gas attack. Joan and Steven Whitney never waver in their belief that Eddie is innocent, but the court finds him guilty and sentences him to death. At this point, the movie examines Eddie’s attempts to escape or influence the governor to grant him a stay of execution. After an elaborately staged escape, Joan and Eddie take to the road and the film becomes a mini road movie full of suspicious rural folk and car chases. Sidney’s Joan remains believable as she turns into a desperate fugitive. As the movie plays out to its unfortunate conclusion, I wondered why things didn’t turn out better. I got the feeling that the couple brought on this trouble themselves. If Eddie and Joan really love each other, why couldn’t they have planned things better.

Universal International Pictures must have thought it couldn’t miss with “Buccaneer’s Girl,” which came out in 1950 and stars Yvonne De Carlo and Philip Friend in a pirate adventure in New Orleans and the high seas. Friend possessed the talent and looks to do a swashbuckling (and in this case gentrified) pirate, and the lovely De Carlo can be a force when playing a proud and lusty heroine. Unfortunately, the chemistry between Friend and De Carlo seems forced, and they never really get down to any kind of convincing lovemaking. In addition, Robert Douglas plays a rather insipid vilain, which takes the fun out of the plot.

Yvonne De Carlo and Philip Friend in “Buccaneer’s Girl.”

Like many pirate movies, this one begins with a raid on a ship — just after the captain assures the nervous passengers that the infamous pirate, Frederic Baptiste, will never attack the ship in calm waters. Of course, Baptiste (Friend) arrives presently, apprehends the crew and sends them off on the life boats into open water. During the scuffle, De Carlo, playing a character named Debby McCoy, climbs out of her hiding place, where she’s been a stowaway. The pirates take her aboard their ship, and threaten to cast her off on a sand bar. I expected Debby to get worse treatment, but it seems these pirates are not particularly nasty or out to do any harm except steal ships and cargo. They put up with Debby’s biting, scratching and kicking and even give her her own cabin.

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When she does meet Baptiste, he arrives in an entirely new disguise — one which he takes great pains to conceal from the authorities — especially a certain Narbonne (Douglas), whose ships he’s been looting. As in any pirate movie, Baptiste is not all bad, and Narbonne is not all good. Debby arrogantly does what she wants, which makes it hard to fully sympathise with her. She never seems to be in real danger, and that hurts the film’s credibility. If she weren’t so streetwise, the romantic chemistry would work better.