SECONDS  (1966) Paramount Pictures.

Director: John Frankenheimer....Cinematography: James Wong Howe. Music: Jerry Goldsmith.

Cast: Rock Hudson, Salome Jens, James Randolph, Will Geer, Jeff Corey, Richard Anderson, Murray Hamilton, Wesley Addy, etc.

This truly magnificent piece of work from all concerned should have been rewarded with a ton of Oscars. Alas, it it now a cult movie and it IS because it is possibly the most FRIGHTENING/HARROWING/DEPRESSING experience to watch. But CINEMATIC-ALLY a true treasure.

Rock Hudson AND John Randolph give the performances of their CAREERS...John Frankenheimer's direction as impeccably imaginative and jaw dropping as always/...Cinematographer James Wong Howe's Oscar nominated work here is the most experimental of his career. Jerry Goldsmith's Pipe ORGAN and string dominated score another unrecognized masterpiece in his stellar career.

But more than ALL that is THIS CAST. Rock Hudson surely outdid himself as did one of the finest ensemble casts Frankenheimer ever worked with. EVEN the fondly remembered Khigh Diegh from THE MANCHURIAN CANDIDATE contributing another  great character role here for his director.

Mention should ALSO be made of the truly BRILLIANT screenplay from Lewis John Carlino.

Too many other credits who outdid themselves on this masterwork.

http://www.youtube.com/watch?v=mg51z6daQjo

Soldier in the Rain - Fight Scene - Courtesy of JMoney http://www.youtu...

Garden Of Evil (1954) - Title Sequence -

SOME CAME RUNNING (1958) Dir: Vincente Minnelli

How can you go wrong with this melodrama from 1958? It has ALL the ingredients of classic Hollywood filmmaking at the time. A GREAT CAST at THEIR PEAK...Frank Sinatra when he still was giving great performances as an alcoholic/failed writer who is in love with a schoolteacher who TEACHES writing (Martha Hyer). Dean Martin in a performance that should turn people around (and sure did at the time) as an alcoholic/diabetic/gambler. A charming ne'er do well with the ladies (for my money he gives the best performance in this, as great as everyone ELSE is), Shirley MacLaine (Oscar nominated for supporting actress) as a streetwalker who happens to love failed writer/ex-serviceman Frank,  Martha Hyer (who wound up marrying Producer Hal Wallis, that's another story) as an ALMOST becoming an old-maid schoolteacher who has CUT HERSELF OFF FROM HER "Basest feelings" (i.e., SEX) and consequently LOVE TOO, who is so screwed up she let's Frank make love to her in a "weak moment" and then won't forgive him or herself for allowing him to. So she punishes both him and herself by saying she is scared of how overwhelming and violent his feelings are AND HER OWN!. It's quite a character she has to play (also Oscar nominated that year with Shirley Mac Laine in the film, so they probably "cancelled each other out" that year, as often happens when more than 1 performer is nominated in the same category from the SAME film). Her performance is alternatively alluring yet frigid. 

Shirley MacLaine's performance is also rather remarkable. At the time she had been mostly in musical comedy and wasn't known for dramatic performances. She does overdue a bit in her scene with Martha Hyer whe she visits her school to plead with her over her love of the Sinatra character (too many sniffles which are NOT FELT, this is my feeling ONLY). But there are too many other scenes where she is spot on! Watch the scene at the near end where she and Frank are arguing after he has read a story of his that's just been piblished and he starts to "quiz" her about it! It is truly wonderous.
And, lest I forget, Arthur Kennedy (another Oscar nominee) as Frank's older brother who is financially successful as a jeweler, on the board of directors at the local bank, is involved in a marriage he is less than happy with (sexually and as it turns out personally too). He was younger brother Frank's guardian who had him placed in an orphanage when the parents died and had  Frank put there as a child when HE wanted to marry.  He could play this part of a morally conflicted individual (remember the year before in another Oscar nominated turn he raped Hope Lange, who played his STEP DAUGHTER in PEYTON PLACE!)  and does VERY WELL with basically the most stereotyped part in the film....The entire cast is wonderful.

The story is WONDERFUL. Minnelli's Direction is a just amazing in it's use of the CinemaScope frame (please do NOT LOOK AT THIS IN ANY OTHER WAY THAN WIDESCREEN 16 x 9, you ARE cheating yourself) and it's use of color. NOT to mention the subtlety of the performances which is funny considering in VARIOUS bios, Sinatra and Martin both had thought Minnelli a fuss pot and TOO meticulous. During the CLASSIC end SET PIECE, director Minnelli had dictated that the FERRIS WHEEL be moved to facilitate tha shot HE had in mind. Sinatra and Martin bolted from the set thinking Vincente had been being too much the director....But Minnelli GOT WHAT HE NEEDED...Just watch  it. It is quite astounding! It is akin to watching CHOREOGRAPHY. The motion objects and characters WITHIN the frame, the camera movement, the editing and music all contribute to the OVERALL effect which is serendipitous.
Cinematographer William Daniels outdoes himself here and goes a long way to showing why Sinatra hired HIM a lot years later as an associate producer on several projects. And not to forget Elmer Bernstein's great music score! Very collectible LP (yeah that's right VINYL) and I don't think it's been reissued on CD yet).

Just going to mention moments of the film that STICK with me rather than offer a plot synopsis...First the Sinatra bus ride into PARKMAN (the city of his birth on his way to visit his brother to pay him off for putting him in the orphanage for years, which his older brother Arthur Kennedy paid for,  how's THAT for SHOVING IT UP HIS ORIFICE!). Sinatra plays this scene like a throwaway natural was (which he indeed he was, whatever you think of him personally). He wakes up from the night on board this bus after obviously drunk. (He almost does not realize WHERE he even is) and the FIRST thing he searches for is his WALLET! And where he finds it and knowingly KNOWS where to find it is NOT IN HIS BACK POCKET! They didn't DO stuff like this then. It was pretty daring in 1958. 
Second,  the scene where he gets off the bus with Shirley MacLaine following him! They both are playing the scene so beautifully. He is someone who picked up Shirley the night before and almost doesn't remember her (because he was SO DRUNK that night), and she as someone who has fallen hopelessly in love with Frank even as a streetwalker or pig (significance of that term later) and is gullible and a bit stupid and uneducated, but whose love seeks to conquer Frank's insecurity, make him HAPPY at all costs, and is self-sacrificing (ultimately too as it turns out, in a plot change from JAMES JOYCE'S original novel ending). Just wonderfully well played by "ONE TAKE FRANK." Legend has it that Frank used to HATE going more than a couple of takes and the conflicts he had with the likes of Marlon Brando (on GUYS AND DOLLS, both personally and professionally, and even Edward G. Robinson (on A HOLE IN THE HEAD)
are well known, because these actors could or would go onto many takes and Frank would lose that spark after the first 2 as a rule).
Third, the scene where Frank meets up with Arthur Kennedy again after years of resentment that Frank has for his being a phony and a sellout (mainly of himself). Kennedy's supercilious self-righteousness in feigning concern for his brother Frank and Frank's disdain of all his brother's self-deceiving tricks of concern for Frank are really much more subtle than either actor was given credit for at the time. Don't forget ALSO that Arthur Kennedy had ALSO been Oscar nominated in the supporting actor category the year before in another great melodrama (not quite as inventively directed as this, but as "soap operas" go another winner, "PEYTON PLACE"). Kennedy was in a number of films before the bottle got the best of him years later and was in a number of Italian films before his death which while interesting for OTHER reasons, were far beneath his talent and gave him nothing to do as an actor.

Fourth, the scene where Sinatra and Dean Martin meet. Dean plays BAMA Dillert (where this name comes from is an enigma in itself, as I can think of NO other character in ANY fiction or even NON-fiction with THAT name). The verbal sense of humor and sensitivity (which Martin was NEVER noted for) are in abundance.  Forgive me at this point I should have mentioned
that this entire movie is very well written (and were it NOT for the fact that I have lent out my DVD copy, I'd be able to feign remembrance of just who the screenwriter was)...There is an awareness in both Sinatra & Martin (remember, he used to be a croupier) that shows just how mutually connected they are even verbally sparring with each other. Those in doubt about Martin AS AN actor (a funny story just came to mind which I must relate too). Check these out, THE YOUNG LIONS (1958, Dir: Edward Dmytryk, CAREER (1959, Dir: Joseph Anthony), RIO BRAVO (1959, Dir: Howard Hawks), TOYS IN THE ATTIC (1962, Dir: George Roy Hill, and already blogged about), and also  KISS ME, STUPID (1964, Dir: Billy Wilder).


As an aside before continuing with the film at hand.

While directing Dean in KISS ME, STUPID, there was a scene where Wilder was becoming, shall we say, "uncommonly TEUTONIC" in his direction of Martin. Giving him VERY specific direction which interfered with Martin's naturalistic quality in front of a camera.  Dean diffused the situation with humor. His response to Wilder which has been quoted in various biographies was the following;
"Well Jesus Christ, what the fuck? If you wanted an actor why didn't you go get fucking Marlon Brando?" Isn't that just as you would have thought his reaction would be? And if  THAT doesn't make you laugh I feel kind of sorry for you! Read Nick Tosches bio on Dean for many more stories like that one!


Fifth, the scene where Frank has just said he's going to marry Shirley Mac Laine's streetwalker, and ADMITS this PROUDLY to Dean. There is no scene like this ANYWHERE, that I can think of. Dean is totally incredulous at this admission. When Frank tells him this, his incredulity coupled with complete dumbfounded dejection at his friends' perceived stupidity and even a subtle sense of UNDERSTANDING WHY at the same time, is rather remarkable. This NUANCED playing which Dean Martin was never given his due for. In particular during this exchange note the GUTS it TOOK to call the Shirley MacLaine character a "pig" not once but twice in the same scene with just the right amount of regret too is remarkable. This after (it seems) his ONLY new found friend Frank has told him he's going to MARRY her. This was subversive STUFF for the 50's.
It has supremely inventive (in the classic style) direction by Minnelli (his late period films which are in many ways extensions  of the direction of his musicals ( probably THE BAND WAGON being the peak)...The last scene I will note of his the entire climactic scene. It takes place in a CARNIVAL atmosphere. I will not reveal the details of the plot here as I HATE spoliers. But suffice to say outside of the work of Douglas Sirk or Mario Bava (both directors who were absolute MASTERS OF PURE COLOR) can I think of many scenes in film history which are as blatantly inventive, luxuriant and appropriate as Minnelli and Daniels' use of color and camera movement, even the editing is perfect! It is a cimematic equivalent to Sam Peckinpah's show piece blood baths in his classics, the cinema of Mario Bava's use of color in a potboiler like "Blood on Black Lace", Dario Argento's classic giallo "Deep Red" with it's perfectly edited and shot murder sequences, or Minnelli's own musicals ONLY BETTER. A truly astounding set piece. For anyone wanting to see mainstream Hollywood film making at it's best go no further than this film. More later as I have the time...And thanks for all who have read and please do not be afraid to comment whether in agreement or otherwise. This is one of my top 10 favorite films. AND if you liked this one, catch HOME FROM THE HILL by Minnelli too. It stars Robert Mitchum, Anthony Perkins, George Peppard, Eleanor Parker and (that scene stealer character actor Dub Taylor)...released in 1960 also in succulent MILTON KRASNER shot CinemaScope. AND "TWO WEEKS IN ANOTHER TOWN" (1962) with Kirk Douglas, Edward G. Robinson (playing a film director much like Fritz Lang),  Claire Trevor,  Cyd Charisse, George Hamilton, Daliah Lavi (also in her standout performance in Mario Bava's THE WHIP AND THE BODY, aka "What!").  And what was perceived to be the prequel to TWO WEEKS IN ANOTHER TOWN, 1952's, THE BAD AND THE BEAUTIFUL w/ Kirk Douglas (Oscar nominated for Best Actor), Lana Turner, Dick Powell, Gloria Grahame (Oscar Winner for supporting actress),  and  Walter Pidgeon (he was in FORBIDDEN PLANET, he can do NO wrong!)

Minnelli's work continues to be underrated by all younger generation film goers who are NUMBED by MTV style editing (MAINLY), have no sense of color and it's ultimate meanings (but PREFER to be inundated with it no matter WHAT is may say), SURFACE performances of stereotypes and NOT FULL BLOODED CHARACTERS, stories which lack the minimum of verisimilitude and believability on basic levels, characters which have no basis for their motivations,  music scores which sound like third rate wallpaper (The school of HANS ZIMMER, who I have NEVER heard do a brilliant work yet, but manages to work all the time and very profitably). Sorry this is not an "eldritch" sensibility here. As Tim Lucas (of Video Watchdog and also the author of the finest film book imaginable "ALL THE COLORS OF THE DARK" on director MARIO BAVA) put it when referring to all his criticisms of TODAY'S FILMS versus yesterdays. And if he is NOW unwilling to admit it, I will for him. This "eldritch" sensibility about film and criticism of it is beyond technique. It has to do with entirety of any film and it's circumstances of production. 
Seek out the films I mention in this blog, though I have been lax in writing for it, I haven't been lax in writing and performing music, both of which music and film are the two things I know most about and love as pursuits. I hope any and all comments I may make in my blog are taken in the spirit of LOVE and wanting to turn people ON to achievements in film and music and all the related arts and spur YOU on to a further investigation of ALL of these art forms.

SOLDIER IN THE RAIN (1963) Allied Artists. Director : Ralph Nelson.

Aside from having the elements aforementioned, this gentle-hearted film contain one of the most brutal and sadistic fight scenes ever witnessed "until that time." McQueen staged it for director Ralph Nelson. Kudos to film editor Ralph Winters, Co-fighters Ed Nelson ans Lew Gallo, And the Blake Edwards and Maurice Richlin screenplay.


The releasing company, ALLIED ARTISTS (formerly Monogram Pictures) was one of the small independent studios of the 50's and early 60's to release a great percentage of great films which still are watched today. FRIENDLY PERSUASION,  55 DAYS AT PEKING, EL CID, THE BIG CIRCUS...Etc. Also the films of Roger Corman like NOT OF THIS EARTH (finally given a a DVD release after years of having the horrid remake with Traci Lords out there), Caltiki, the Immortal Monster (1960 Riccardo Freda & Mario Bava, only from Italy and letterboxed on an out of print Italian DVD) and others.

SOLDIER IN THE RAIN (1963) Allied Artists. Director : Ralph Nelson.

There can be little doubt that this still largely unknown little film is one of the most moving I have ever seen...Whenever I mention it to people they are first of all surprised to know that there's a film Starring Steve McQueen, Jackie Gleason and Tuesday Weld that they haven't seen or heard of, OR if they HAVE SEEN IT,  the memory of it has stayed with them throughout the years.


Where can I begin....what starts out as if it's going to be in a typical service comedy in the vein of a NO TIME FOR SERGEANTS goes in distinctly different and off beat directions. The plot is not as important in this film as are the CHARACTERS, their relationships to each other and the numerous subtle touches from the entire cast and all concerned in making the film. Not mention the bittersweet feelings generated that are peculiar to this film which is totally UNLIKE any other...and for all these reasons and the contributions I will enumerate below is my own personal top favorite film. All the other films I have cited in this blog, in one way or another have already been written about extensively elsewhere and have become universally recognized in varying degrees as classics. Beyond one appreciation in AMERICAN DIRECTORS (edited by Jean-Pierre Corsodon in the 80's) I have never seen that happen with THIS film, "surely far and away the best film Ralph Nelson ever signed as a director," I believe was the quote in the monograph in the aforementioned book.


His direction here is almost totally out of character with the rest of his oervre. The other films of his that I still like include REQUIEM FOR A HEAVYWEIGHT, LILIES OF THE FIELD, DUEL AT DIABLO, ONCE A THIEF, CHARLY, FLIGHT OF THE DOVES and THE WRATH OF GOD and less so SOLDIER BLUE which is hampered by excessive violence and a truly terrible pair of performances from Candice Bergen and Peter Strauss . Other films include his only sci-fi/horror title EMBRYO (which so little is thought of that only has had public domain releases from horrible pan and scan prints). The IN THE HEAT OF THE NIGHT clone ."..tick...tick...tick" with a great cast given little to do (including George Kennedy, Frederic March and Jim Brown), FATHER GOOSE (with Cary Grant and Leslie Caron and Cy Coleman's amateurish score), and THE WILBY CONSPIRACY.
This film almost universally dismissed as a service comedy gone awry (admittedly true...because the service comedy is a mere pretext for something much better) needs to be seen by more people who I'm sure would be similarly affected if they'd seen it.  I must make mention of the contributions of DP Philip A. Lathrop who's cinematography has always been underrated and one of Henry Mancini's finest scores which UNFORTUNATELY in it's CURRENT video incarnation is severely altered from the main title sequences musical substitution. (more below).

The ORIGINAL video release of this title from ALLIED ARTISTS video in the earliest days of VHS contained the original score INTACT. There is possibly the MOST HAUNTING and SOMBER piece of music he ever wrote, that was the main title and it's absence is achingly missed. It is a trumpet lead (perfectly chosen as the lead instrument for the melody which foreshadows the later sadness in the film) which is over a primary chord of the minor ninth which is AUTOMATICALLY gonna hit one instinctively to the heart. Additionally the harmonic movement behind the melody is unlike anything I have ever heard anywhere else. 

The current WARNER VIDEO ARCHIVE collection DVD contains what is a television reissue print struck sometime in the eighties after the video release. It was reissued by 20th Century Fox's subsidiary VHS label by KEY VIDEO with a LORIMAR sub-ownership and I have no idea which print this was. But chances are it is the same reissue print with the substituted main title music because I have seen this print on televison with that LORIMAR LOGO and every subsequent issue of the film has been this way. I have never understood what could be behind this. It can't have been a "rights" problem, as is often the case because the rest of Mancini's score is in place. Let me be more specific. The piece of music that has been substituted is from later in the body of the film. On one of Mancini's RCA compilations of themes, the cue itself is entitled "Bird Brain." It is much more typical of a comic film in substance, tone and effect than the original piece which is much better for any number of reasons even INHERENTLY better. Hopefully I am not boring you all with this but for those who have seen the film and DO LOVE IT this can only be some corporate a**hole that decided the film needed to have a "jokier" musical opening and axed Mancini's original theme  as "too sad"and replaced it with the cue as I've just described. I am being kind when I tell you I would like to tar and feather this cretin whoever he/she may be. This music was so distinctive to the experience (and inherently marvelous on it's own) that only someone with no sensitivity could have done such damage in thinking "they know better" than the filmakers who originally made the film.


Every subsequent telecast (including on TCM, along with FOX MOVIE CLASSICS the last bastions of respectful film broadcast on cable) has been with this unforgivable alteration. I had posted this lamentable fact on TCM's Message board after it was last telecast and it was abruptly gone the following day! All this controversy notwithstanding, PLEASE TRACK THE FILM DOWN and SEE it. It is a truly amazing little film. And as usual reading is cool, but post if you so desire, to this blog...I'D LOVE TO HEAR from people who have seen these films and appreciate them too. Or even if you hate them for whatever reasons.