Thursday, January 29, 2009

WATERLOO BRIDGE (MGM 1940) Warner Home Video

Based on the stage play by Robert E. Sherwood, Mervyn LeRoy’s Waterloo Bridge (1940) marked the first occasion that Vivien Leigh appeared in a movie following her meteoric rise to super stardom via Gone With The Wind (1939). With its obvious reflections to Tolstoy’s Anna Karenina and timely appeal as a prelude to the looming conflict in Europe, the film became a megawatt hit, propelled by a four hanky weeper of a screenplay written by S.N. Behrman, Hans Rameau and George Froeschel.

The tale opens on the eve of bombing raid in London with one of MGM’s most popular leading men, Robert Taylor starring as Capt. Roy Cronin. Aged and carrying a small lucky charm in his pocket, Roy strolls the length of Waterloo Bridge, reminiscing over the love that was so divine. Flashback to another time and another war: Roy, once again on the bridge and this time coming in contact with the innocent Myra by happy circumstance and moments before another bombing raid hits the city.

The two duck into a nearby and very crowded shelter, cautiously flirting with one another. Roy learns that Myra is a ballet dancer and, against the direct orders of his colonel (Gilbert Emery), skips out on a dinner engagement to attend the theater instead. Myra’s ballet master, Madame Olga Kirowa (Maria Ouspenskaya) is not impressed. There can only be one love in a young woman’s life: the ballet.

All evidence to the contrary for Myra who, against Madame Olga’s direct edict, goes dancing with Roy and then, the next afternoon rejoins him in the pouring rain to rekindle their passionate romance. Forced to choose between love and the ballet, Myra is fired from her job along with another dancer, Kitty (Virginia Fields) who sides against Madame Olga’s tyrannical authority. Roy proposes marriage to Myra but is called away to the front lines before he can make her his wife.

Forced to survive, and unbeknownst to Myra, Kitty turns to prostitution to pay the bills on their cold water flat. Myra receives a letter from Roy instructing her to meet his mother, Lady Margaret (Lucille Watson) at a fashionable tea room. However, Lady Margaret is late and in the interim Myra reads a report in the local papers that falsely lists Roy among the soldiers killed during battle. Unable to quantify her emotions when Lady Margaret finally arrives, Myra is distant and rather cruel. Lady Margaret departs the tea room and Myra returns home to learn the truth about Kitty’s ‘profession.’

Turning to prostitution herself, Myra becomes jaded by life – a turn of events made all the more bitter when she and Roy are reunited at the Waterloo Train Station. Unable to see what their separation has done to Myra, Roy believes that their reunion means a return to the carefree romance of yore. Myra desperately tries to convince herself of as much but, upon arriving at Roy’s ancestral family estate in Scotland, realizes how far removed she now is from the sort of culture and decorum that once might have ideally suited her.

Struggling with her own emotions, Myra confides in Lady Margaret the truth. Lady Margaret is not judgmental, but Myra realizes that she and Roy can never marry now. Disappearing into the night, Myra does not return to the cold water flat she once shared with Kitty. In search of Myra, Roy and Kitty go slumming in London’s seedy lime house district where Roy finally realizes just how cruel a fate their separation has been.

Myra, who has completely given up on life, strolls the precipice of Waterloo Bridge. As a caravan of Red Cross Army trucks go by, she throws herself beneath the wheels of one of the vehicles and dies. The story flashes forward again to the aged Roy Cronin on Waterloo Bridge, still forlorn and love soar after all these years – continuing to wonder how such divine happiness went so utterly wrong.

Waterloo Bridge is compelling melodrama of the highest order. The screenplay packs a lifetime of romantic longing into a scant 109 min. Vivien Leigh is tragically marvelous as the ballet dancer who turns to prostitution to keep body and soul together. Robert Taylor is amply sustainable as the devil-may-care soldier. Virginia Field makes the most of Kitty. Character actors C. Aubrey Smith, Maria Ouspenskaya and Lucille Watson are superb in their cameo appearances. In the final analysis, Waterloo Bridge is a grand romantic tragedy – a cautionary tale that blames the death of a woman’s fragile purity on the conflicts of war.

Warner Home Video’s DVD transfer is middle of the road. Previous bootlegged editions of this movie available around the world have been abysmally bad. However, Warner’s transfer does little to restore the image to its rightful glory, apart from stabilizing and removing previously inherent chroma bleeding.

The B&W elements appear to suffer from lower than usual levels of contrast. Certain scenes are quite dark, with a loss of fine detail evident throughout. Dissolves and fades contain a considerable amount of film grain. Age related artifacts, a reoccurring vertical scratch in the center of the frame, and, even a hair caught in the bottom of the lens during one particular scene all add up to a less than stellar home video presentation. The audio is mono but adequately represented. Apart from a theatrical trailer, there are NO extra features!

FILM RATING (out of 5 - 5 being the best)



Sunday, January 25, 2009


In 1977, British television journalist David Frost secured the rights to conduct what would become the most celebrated series of interviews with former U.S. President Richard M. Nixon. Acknowledging that an individual as complex as Richard Nixon could not possibly be contained within the brief span of an hour long television interview format, Frost proceeded to earmark the former President for six hours of taping at an undisclosed location somewhere in Southern California.

A house was rented and converted into a makeshift studio, with bedrooms serving as changing rooms. In due course these two men would tear into an already open wound, speak frankly on Nixon's White House tenure and talk openly about the Watergate scandal. The Frost/Nixon Interviews – as they came to be known – were a minor broadcasting coup that pitted the wit of an intelligent interviewer with the magnetic defiance of one of the 20th century’s most fascinating political figures.

Yet no one could have foreseen how close Frost would get to the inner man beneath his mantel of nervous reluctance and need for self preservation. In today’s rather unscrupulous need for ravenously blood thirsty tabloid media, the restraint with which these interviews were conducted is utterly refreshing.

Frost engages Nixon with the utmost personal decorum and tempered reverence for the man. Not that Frost fails to ask the tough questions. In fact, he aimed his ambitions, along with his camera, at the very heart of Richard Nixon and, in a moment of unexpected personal humility, catches the former President off guard and speaking to his personal and political failings with unprecedented candor.

The Ron Howard film starring Frank Langella aside, this is the real thing and so much more memorable if only for the fact that it reveals one of the greatest statesmen of the last hundred years as a disheartened and isolated individual coming to grips with the sacrifices he forced others to make in his stead before his own inevitable resignation.
Now, Liberation Entertainment has released a truncated edition of the Frost/Nixon Interviews – basically the episode concentrating on Watergate and its fallout. David Frost, circa the present, bookends and contextualizes this segmented piece with remarkable recall and, after the actual interview, reflections on some personal moments occurring between him and Nixon immediately following the taping of the actual interview.

Curiously, Liberation Entertainment has not taken the time to present these newly recorded recollections in anamorphic widescreen, but rather ‘letterbox’ format, though the rest of the original interview footage is presented as such and with a startling amount of definition and clarity in the image.

Though the tape used to film this interview can never be called ‘reference quality’, with a slight color bleed around the edges, for the most part, the image is stable, crisp and free of debris and age related artifacts. The audio is mono as originally recorded. Apart from Frost’s post interview recollections, there are no extra features. Nevertheless, as a historical artifact, the Frost/Nixon Interview is hypnotic and compelling viewing. A must have!

FILM RATING (out of 5 - 5 being the best)



MISS PETTIGREW LIVES FOR A DAY (Focus Features 2008) Alliance Home Video

Based on Winifred Watson’s delightfully frank and remarkably adult novel, Bharat Nalluri’s Miss Pettigrew Lives For A Day (2008) is an enchanting and lushly photographed comedy about the sacrifices women make to survive in a man’s world. There is both style and substance here, and both are on full display. The film stars Frances McDormand as the title character, a put upon common frump and penniless social outcast who finds her niche in the employ of superficial starlet, Delysia LeFosse (Amy Adams).

Seems Delysia is in a quandary over love: the career-climbing variety with Philip (Tom Payne), the wealthy, but frivolous son of a West End stage producer in London; the dangerous kind with spurious nightclub owner Nick (Mark Strong); or the genuine sort with paroled pianist, Michael (Lee Pace). Installed in Nick’s fashionable penthouse with a naked Philip in her bed and Michael soon to arrive on her stoop, Delysia mistakes Miss Pettigrew as her new social secretary, sent to her aid by the very prime Miss Holt (Stephanie Cole).

As the awkward Pettigrew finagles her way into Delysia’s life, she comes to recognize that although her charge plays the part of a devil-may-care goddess, undulating to every man’s adoration, beneath this haughty exterior is a frightened little girl who, like Pettigrew herself, is but two steps away from being a common hobo on the streets.

The film runs but a scant 1 hr. and 23min. but packs a lifetime of sentiment, heart and the joy of living into every frame. Set at the cusp of WWII, the interjection of looming conflict by screenwriters David McGee and Simon Beaufoy sets a more pressing tone not present in Watson’s original novel. Indeed, Watson’s book was first judged as not publishable for her ‘no nonsense’ approach to sex and the foibles of all male/female relationships.

These pert and crisp observations are retained for the film and used to great effect; particularly in the supporting love match between the heartless fashion snipe, Edythe (Shirley Henderson) and worldly suitor, Joe (Ciaran Hinds); a one time designer of men’s socks who has currently intruded on Edythe’s domain with his slinky take on women’s lingerie.

Watson sold the rights to her book to Universal Studios in 1939. But the onset of WWII prevented Universal from continuing with a filmic version then. Watson later re-sold the rights to Universal in 1953, but to no artistic avail; perhaps because by then the bottom had fallen out of minor romantic comedies. Thus, when producer Paul Webster approached Universal as part of a deal with Focus Films, he was promptly informed that he did not own the rights; rather that Universal did. Nevertheless, a deal was struck and production commenced. The results have been well worth the wait.

Miss Pettigrew Lives For A Day is a sparkling throwback to the glorious days of classic Hollywood filmmaking at its best; the rich and sumptuously inventive photography by John de Borman adding exemplar touches of ‘30s/’40s chic good taste to the proceedings and giving the eye something to ogle when perhaps the screenplay is just a bit too lax with something witty to say. This is a fun film, infused with a life affirming message in the face of certain disaster. It will likely be enjoyed for years to come.

Alliance Home Video has done a marvelous job on the DVD transfer. Despite being a flipper disc (with Side A containing a full frame version of the film and Side B being in anamorphic widescreen), the image is bright, sharp and full of eye-popping detail and invigoratingly bold colors.

Flesh tones are natural in appearance. Reds are blood red. Contrast levels are bang on with deep, velvety blacks and very bright whites. Film grain is kept to a bare minimum. Discrepancies between live action and digital effects are well blended and concealed. The audio is 5.1 Dolby Digital and delivers quite a wallop, particularly during the nightclub sequence that round out the festivities on screen.

Side A contains a nicely put together featurette ‘Making an Unforgettable Day’, while Side B delivers the more poignant ‘Miss Pettigrew’s Long Journey To Hollywood’, with recollections from the late author’s son, plus deleted scenes and the film’s original theatrical trailer. Highly recommended!

FILM RATING (out of 5 - 5 being the best)



Thursday, January 22, 2009

MAGNIFICENT OBSESSION (Universal 1954) Criterion Home Video

Douglas Sirk’s Magnificent Obsession (1954) is a rather syrupy remake of John M. Stahl’s 1935 movie of the same name. Both films are loosely based on the 1929 novel by Congregationalist pastor Lloyd C. Douglas; a convoluted tale of religious fervor and mutilated Christianity cleverly wrapped in a conventional romance, involving a rich playboy who discovers God through his sudden devotion to a good woman he has initially wronged.

Although the novel left much to be desired in terms of its critique of religion, its romantic subplot and well timed condemnation of the jazz age nevertheless captured the public’s immediate fascination and the book became an instant best seller.

Robert Blees’ 1954 screenplay is much more faithful in its adherence to the 1935 Stahl film than it is to Douglas’s novel. In Sirk’s Technicolor remake, Jane Wyman is cast as Helen Philips (the role originally played by Irene Dunne); newlywed to a prominent physician who dies alone at his seaside home because the inhalator that might have saved his life was borrowed moments earlier to resuscitate Bob Merrick (Rock Hudson); an egotistical playboy capsized in his speedboat.

Distraught, but recovering rather quickly from her grief, Helen quickly learns that the hospital her late husband founded is in dire financial straights. Apparently, Dr. Philips was treating needy patients without any thought for collecting on their overdue bills. Owing to a rather restrained view of religion, circa the 1950s, the film avoids any direct comment on the logic or reasoning behind the good doctor’s philanthropy.

When Merrick learns that Helen’s husband likely died to save his own life he becomes morbidly fascinated by that level of self sacrifice. Awkwardly, Merrick launches into a cheap flirtation that rubs Helen the wrong way and later ends tragically when, in an attempt to escape his advances, Helen accidentally backs out of a taxi cab and into oncoming traffic. Blinded, Helen convalesces at home with the aid of her good friend and nurse, Nancy Ashford (Agnes Moorehead) and a tomboy schoolgirl, Judy (Judy Nugent).

In the meantime, Merrick has seemingly been touched by the hand of God, or at least stirred to greatness by the benevolence of Edward Randolph (Otto Kruger); a close personal friend of the late Dr. Philips. With Edward’s guidance, Merrick returns to medical school, something he gave up long before. Quietly, he reintroduces himself into Helen’s world as Robbie Robertson – a man Helen gradual grows to love.

Secretively, Merrick pays for three of the best European neurosurgeons to examine Helen in Germany. However, their negative prognosis sends the usually optimistic Helen into an emotional tailspin from which she recovers only when Merrick reenters her life as Robbie and their tangled romance ensues. After learning that Robbie is Merrick Helen retreats into a self imposed exile.

A near death experience reunites Merrick and Helen. He is forced to operate on her brain to relieve a build up of pressure. The film’s narrative stops just short of restoring Helen’s sight in the final screen moments, but suggests that Helen can make out a bright light. Is it proof, as she believes, that the restoration of her sight is imminent, or are these the final moments of a near death experience?

A filmmaker renown for such excessive romantic treacle and implausibly heartrending melodrama, Douglas Sirk must be given high marks for keeping both the impracticality and soap opera-ish quality of the story successfully at bay. Magnificent Obsession is far from perfect storytelling. But it maintains an often gripping and intelligent patina of considerable good taste.

Both Jane Wyman and Rock Hudson deliver seminal performances in their respective careers. Hudson in particular is a revelation, his transformation from embittered blowhard to thoughtful surgeon startlingly on point. By comparison, Robert Taylor in the original film is quite one dimensional – seemingly out of touch and unable to communicate the brevity of his transformation.

Unlike Irene Dunne’s perennial pert and plucky take on Helen – often teetering dangerously close to the madcap heroines she often played elsewhere, Jane Wyman is effectively tragic without degrading her blind woman to stock Hollywood cliché. In the final analysis, Magnificent Obsession is an over the top four hanky weepy that deserves a second viewing. It may not be high art, but it aims successfully at being solid second tier melodrama.

Criterion’s anamorphic widescreen DVD is advertised as a ‘restored’ hi-definition transfer. Unfortunately, the image is inconsistently rendered at best. In assessing how far the image has come (from those prints readily available on late night television), and, how far it still has to go, one should recall first that Technicolor was a film grain concealing process.

Unfortunately, many scenes in Sirk’s Magnificent Obsession are marred by excessive grain, either for a film of this vintage and certainly for a DVD advertised as ‘restored.’ Worse, there are several glaring instances where the 3-strip color is grossly misaligned, resulting in obtrusive halos and a generally blurry picture. When the color is properly registered, it tends to shimmer, with ‘breathing’ around the edges of the film frame. Flesh tones fluctuate from shot to shot. Several scenes exhibit extreme color fading.

The 1935 original is also included as a supplement. Here, the B&W image is generally sharp, though again, far from smooth. Age related artifacts and film grain are the biggest culprits, though on the whole the film is quite acceptable. The audio on both editions is mono as originally recorded and presented at an adequate listening level.

Extras include several video interviews, a comprehensive commentary track on the Sirk version by film scholar Thomas Doherty and the film’s original theatrical trailer. On the 1935 original we also get the 1991 documentary, From UFA to Hollywood: Douglas Sirk Remembers. There’s also a very smart snap analysis of the film in booklet form written by Geoffrey O’Brien.

FILM RATING (out of 5 - 5 being the best)
1954 version - 3
1935 version- 3

1954 version - 3
1935 version - 3.5