Category: External Movies (Page 247 of 336)

Beau Geste

William Wellman’s 1939 hit is the second and best-known version of the frequently filmed adventure novel by Percival Christopher Wren. This 1939 action not-quite-classic features superstar Gary Cooper (“High Noon”) and then-rising stars Ray Miland (“The Lost Weekend”) and Robert Preston (“The Music Man”) as three English brothers and best pals who flee their ancestral home in the wake of the mysterious theft of an extremely valuable emerald. Joining the infamously torturous French Foreign Legion, the brothers Geste encounter the brutal, greedy, thoroughly villainous but entirely courageous Sgt. Markoff (Brian Donleavy), who quickly hears of the stolen jewel and becomes determined to re-steal it for himself between attacks by Arab groups who’d prefer Frenchie goes home.

Unlike other classic-era tales of imperialist derring-do, “Beau Geste” doesn’t go out of its way to glamorize or morally justify the work of the Legion. At the same time, the mystery of the stolen jewel takes the focus away from the setting and becomes a kind of odd distraction. Ironically made in the same year as two similar but superior adventures, George Stevens’ comedic “Gunga Din” and Zoltan Korda’s wondrous, propagandistic “Four Feathers,” “Beau Geste” has been beautifully restored to its black and white glory and is worth seeing for its lucid direction, a moving finale, ans the outstanding cast. Character actor Brian Donleavy’s evil-but-admirable Markoff pretty much walks away with the film. It’s a savagely honest portrait of pure selfish survival instinct that makes this tale of brotherly love and sacrifice work, more or less.

Click to buy “Beau Geste”

Today in geek film second guessing (updated)

Something is in the air right now that’s just making movie people a bit whiny, maybe it’s pre-Comic Con jitters impacting today’s perhaps over geekified (even for me) film world. To wit:

— Via Screenrant comes word of Todd Gilchrist‘s post on producer Joel Silver’s reminiscences on the “Watchmen” script he spent years developing, which for a time was attached to San Fernando Valley-bred American Python and genuine auteur Terry Gilliam. Basically, he argues that his version was better and more audience friendly. That’s easy to say now and, especially based on Joel Silver’s legendary rep, one expects exaggeration. Though I had seriously mixed feelings about the Zack Snyder’s version, it’s important to remember that Gilliam abandoned the project as unfilmable at any reasonable movie-length. My feeling is that the recent film, despite some truly brilliant visuals, a clever rewrite of the problematic ending of the original, and a number of really terrific flourishes, largely bears this out, though I’m looking forward to seeing the expanded version. (I kind of hated “300” by the way, but that’s probably less Snyder’s fault than his source material, I’m guessing.)

Continue reading »

2001: a historical movie moment….

In honor of the fortieth anniversary of Apollo 11’s moon landing, for me ten of the most exquisite minutes ever put on film, from any movie. This is just a taste — see this on the biggest screen you have access to, preferably in a very big movie theater, and preferably in 70mm. The impact of this won’t be anywhere the same, but will do in the meantime and the music’s always lovely.

The president recalled that as a boy living in Hawaii, he would perch on his grandfather’s shoulders and watch the space capsules land in the Pacific Ocean. “We’d go out and we’d pretend like they could see us as we were waving at folks coming home,” he said. “And I remember waving American flags and my grandfather telling me that the Apollo mission was an example of how Americans can do anything they put their minds to.”

The geek overload continues! (updated)

With the completely and utterly sold-out Comic-Con starting mid-week, Hollywood publicists seem to be working overtime to fulfill your no doubt insatiable need for geek news. I could probably write seven or eight posts catering to nerd proclivities. But you’re getting just one today, (and, with the help of few snafus, this one took much longer than it should have). A few highlights

* Leonardo DiCaprio’s company has signed writer Rand Ravich (“The Astronaut’s Wife,” the TV series “Life”) to do a new film somehow tied to Rod Serling’s classic anthology science-fiction/fantasy TV series, “The Twilight Zone.” Many of you will remember the 1983 film, which utilized multiple writers and directors and consisted of three adaptations of well known episodes from the original series, one tale loosely drawn from a pair of episodes (sadly infamous due to the accident which killed actor Vic Morrow and two illegally hired children, very nearly ending the career of director John Landis), and a framing story featuring Albert Brooks and Dan Aykroyd. No word on what form this new film would take — a single tale would be missing the entire point of “The Twilight Zone,” IMO — and I’m unfamiliar with Ravich’s work. So, it’ll be interesting to watch this one move further along the pipeline.

[Update: Apparently, one year ago at least, the idea was to make a single film drawn from an episode of the series. Why, I have no idea. I learned this via Monika Bartyzel, you can read her post and my messed up comments here.

* The word on the overseas grosses for “Harry Potter and the Half-Blood Prince” are in and they’re a new worldwide five day record of $297 million. Blimey.

Continue reading »

One more fantasy movie moment: “Beauty and the Beast” (1946)

With due respect to the later Harry Potter films, and as much as I consider Peter Jackson’s “Lord of the Rings” cycle possibly the ultimate single film of this first decade of the 21st century, if I had to pick the greatest fantasy film of all time, there’s one film that pretty much stands alone for me. Poet turned auteur Jean Cocteau’s version of Beauty and the Beast has never been rivaled. This “fairy tale for adults” remains a masterpiece of entertainment and cinematic poetry, and it’s in-camera effects remain truly stunning. In some respects, even Jackson’s incredibly brilliant WETA crew has never quite matched what cinematographer Henri Alekan, and production designers Christian Bérard and Lucien Carré managed in devastated post-war France.

I suppose I’m already guilty of it, but I try not to build-up classic movies too much lest I build up expectations so high that no movie can really live up to them at first blush. They’re only movies. But take a look at this trailer, which includes narration by Cocteau himself. To me, this is beauty.

« Older posts Newer posts »

© 2026 Premium Hollywood

Theme by Anders NorenUp ↑