Matt's Big Oscar Challenge Day 207: An All-Star War

Following on from How the West Was Won; we look at another ensemble action film in the form of The Longest Day. Unlike the western though, The Longest Day isn't an all-colour rambling epic but rather it's a focused study on the events that led up to the D-Day Landing. The entire film was the vision of producer Darryl F. Zanuck who employed four directors to tell every side of the story. Employing a documentary style and shot completely in black-and-white, The Longest Day sees the D-Day landings plotted by both the Germans and the Allies. Unusually for the time, the film used German and French actors to speak in their own language, rather than using English actors to put on dodgy accents a la 'Allo 'Allo. It appeared to me as if Zanuck wanted to get events as realistic as possible so had a lot of the events play out in real time. These events included the British glider missions to secure the Pegasus Bridge and the counter attack that was planned by the American paratroopers. The film itself ends with the iconic Normandy Landings as troops on both sides are quickly shot down. For me, this was where the film really got going and I felt that Zanuck had paced the movie well up to this point.

The main problem I had with The Longest Day was there wasn't any major plots, instead this was more of a docu-drama focusing on one specific event. As there were so many characters, it was impossible to keep up with who was who and a lot of famous faces popped up briefly, most-notably Sean Connery, who was just about to become a household name courtesy of a certain spy. While there are indeed some recurring plots, including one involving a card game, it is obviously the battle that takes priority and therefore this comes across as more of a documentary than a fictional piece. What I felt that Zanuck did well was the set-pieces, especially the aforementioned landings themselves, and I'm not surprised that the film won the Best Special Effects Oscar that year. I also felt the majority of the cast played their parts well, however minor they were, and really made me care about the plight of the allies. This however doesn't apply to John Wayne who, as Benjamin Vandervoot, never really convinced and just seemed to playing himself. Overall I found The Longest Day to be a gripping account of a much talked about moment in military history although one that goes on a bit. It also suffers from lack of story and far too many characters, but ultimately it's the film's visual style that's its saving grace.

Matt's Big Oscar Challenge Day 206: A Star-Studded History Lesson

As I previously mentioned in my post on The Graduate, the 1960s were definitely a decade of change when it came to film-making. At the same time, several of the old-fashioned epic style films were being made, some with bumper casts. The next two posts will deal with these star-studded epic films and we start with How the West Was Won. The film was an interesting one, as it split its story into five parts with three of these directed by Henry Hathaway and the other two by John Ford and James Marshall respectively. In addition, How the West Was Won marked itself out visually as it was filmed in a three-strip cinerama which had both post and negative affects on the viewing experience. The story itself deals with generations of the same family initially known as the Prescotts, whose daughters would both go on to marry and have children. Over time we saw how the families battled the wild rivers to get to the west, how they battled through the civil war and ultimately dealt with outlaws to claim the land for themselves. The two sisters - Eve and Lilith, had different fates with the former creating a homestead on the place where their parents died. Eve's son Zeb would later go on to fight in The Civil War and negotiate with the Native Americans. Lilith meanwhile hooks up with a gambler and inherits a run down gold mine before finally reuniting with Zeb and his growing family. The story comes full circle as the Prescott family finally settle in the west once and for all.

Seeing as it was made in 1962, How the West Was Won has a very old-fashioned feel to it and almost seems a little out of place Similarly, the big name cast are mostly wasted with John Wayne being the biggest example as his role is nothing more than an extended cameo. Indeed, the actors who have the biggest parts are Debbie Reynolds and George Peppard, neither of whom are promoted as the main stars of the piece. I felt that actors such as James Stewart, Henry Fonda and Gregory Peck popping up for two minutes did nothing to enhance the film and instead made the story feel a little flabby. That's not to say I didn't enjoy How the West Was Won and found it to be a colourful western epic which passed the time fine. The sweeping scenery and Spencer Tracy's assured narration were definitely the film's biggest strengths while I learnt a lot about the formation of America. At the same time, I was never blown away by the film and none of it really stuck with me after the DVD had finished playing. The three-strip cinerama process also made the film seem a little odd with the visible strips of paper almost looking a little messy. Overall, while not a bad film, How the West Was Won was quite unremarkable endeavour which is odd when you consider who was involved.

Next time a similar sort of film to How the West Was Won, but one that is a lot darker.

Matt's Big Oscar Challenge Day 188: The Trouble with Texans

The one gripe a lot of us have about the Oscars in 2013 is that there is a lot of lobbying going on and often the least-deserving films get a Best Picture nod. Lobbying isn't a particularly new idea though and in 1961 John Wayne did plenty of it for his pet project The Alamo. Indeed The Alamo ended up getting a Best Picture nomination over more deserving films such as Psycho and Spartacus. Wayne, who acted as director as well as star and producer, obviously thought the tale of The Alamo was one worth telling but after seeing the film I'm not entirely sure why. As you can imagine from the title, the film essentially tells the story of the lead up to the battle of The Alamo. The three men in charge of the mission have different philosophies and this also plays into the film's narrative. Firstly there's William Travis a fairly stoic soul who wants things done the proper way and wants his men to learn to fight rather than drink and be merry. Then there's the alcoholic Jim Bowie who resents Travis' nature and believes himself to be the more experienced official. Finally there's legendary Davy Crockett, played by Wayne, who arrives at The Alamo to bring his men to fight alongside the Texans. The plot sees the three men attempt to bond and formulate a strategy to try and take down the Mexican forces. The final part of the film sees the battle itself and watches the three men in action as the Mexicans attempt to overpower them and take The Alamo.

I wasn't surprised when I learnt that The Alamo didn't recoup the money that was spent on it as to me it was a fairly dreary film. At over two and a half hours I really didn't feel that it was well-paced and there were far too many scenes of men in rooms just talking to each other. I feel that part of the failure of the film is Wayne's direction which isn't particularly exciting which means that The Alamo pales in comparison to some of Wayne's earlier westerns. In fact the only memorable scenes in the entire film are in the final act where we get to see the actual Battle of The Alamo itself. I believe that these would be the scenes that audiences at the time would've come to see though I reckon they would've resented having to sit through two hours of talking in order to get that far. In terms of casting the only one of the three leads that brings anything to the table is Laurence Harvey as the professional Travis. Harvey was recruited by Wayne after Room at the Top and this was his first major vehicle as a star. Wayne meanwhile is miscast as Crockett as it really is hard to buy him as a leader of men especially at this late stage of his career. The only acting nomination the film received was for Chill Wills who plays Beekeeper who is the comic relief of the film. It's plain to see that the only reason The Alamo would get a Best Picture nod is through heavy lobbying and that's obviously what's happened. It's just a shame that some of the other films released in the same year didn't qualify because John Wayne through his weight around and got awarded for it.

Matt's Big Oscar Challenge Day 158: Johnny Irish

It's sometimes interesting to see people outside of their comfort zone so when Johns both Wayne and Ford collaborated on The Quiet Man it was somewhat of a shock as they're primarily known for their westerns. Previously on the Oscar Search we've seen them work together on Stagecoach while later films included The Man who Shot Liberty Valace and The Searchers but in The Quiet Man it is much more of a serene affair with Wayne playing a romantic lead. The plot sees Wayne play Sean Thornton a man who was raised in the Irish town and returns ready to purchase his old family farm but raises the ire of local businessman Will Danaher when he outbids him for the property. Sean also becomes besotted with Will's sister Mary Kate and after some traditional yet bizarre courting rituals the two marry however when Will finds out that he has been duped by the pair he refuses to give her all of his dowry. Mary Kate wants her new husband to defend her honour but he keeps claiming that he didn't marry her for her money but thanks to the local town holy men he later learns that traditions mean a lot to the locals. Will challenges Sean to a boxing match however in his old life he was a boxer who quit when he killed an opponent but after getting over his nerves he battles his brother-in-law all over town before they get over their differences and end up in the pub.

The main thing I remember about The Quiet Man is the focus on traditional customs and culture with Wayne as the outsider baffled by some of them as we the audience similarly are. For example in one set piece the men ride horses to collect the Easter bonnets of the women they intend to court while the courting itself is supervised by one of the town elders. If I was someone who didn't know about Ireland and therefore thought this was accurate portrayal then I certainly would think it was a backward place where squabbles are sorted out with boxing matches and all women care about is money. Wayne also feels outside of his comfort zone here and his trademark slowed down speech doesn't suit a film in which everyone else is in high spirits with fast-paced Irish accents. Thankfully co-stars Maureen O'Hara, Barry Fitzgerald and Victor McLaglen are all in high spirits and try to aide Wayne as much as they can. Though the Irish customs are rather outdated the Irish countryside is beautifully shot and the film deserved its Best Cinematography award though I'm not quite sure about Ford winning yet another Best Director prize. The best way to describe The Quiet Man is a quaint romance with an unsure male lead but some stunning camera work that beautifully captures the Irish scenery.

Matt's Big Oscar Challenge Day 102: The Soldiers Coming Back and The Women that Wait for Them

So we're back in the saddle, and as it's Oscar Weekend I'm guessing I'm going to have carry over the Oscar challenge for another year as at the moment we're still straddling around in the 1940s.

First up is The Long Voyage Home, a nominee from 1941, which looks at a group of men journeying back from service in the West Indies firstly to Baltimore and then to England. This is very much a film about men trapped in an enclosed space as one-by-one they become increasingly suspicious that the Englishman Smitty is actually a German spy. When they finally confront him and torture him it turns out that he is no more than a recovering alcoholic who has run away from his family and is concealing his true identity because he is ashamed. The scene in which he breaks down is made even more poignant when Smitty is killed shortly after by a German plane making all the other men decide not to sign up for another tour of service on the ship and instead decide to help the mild-mannered Ole return home to Sweden. However, in the final part of the film, Ole is drugged and kidnapped and forced onto another ship so his shipmates help him escape but in the confusion the ship sets sail with one of their number, their sort of leader the Irish Driscoll, on board and they soon hear that the ship was blown up by a German torpedo with all the men still on board. The film has a sort of a happy ending as Ole does return to Sweden but the rest of the men decide to travel on and return to the ship. I did enjoy this film, for the most part, especially the scenes in which the men are trying to occupy themselves on the voyage home. I loved Ian Hunter as the tragic Smitty and Thomas Mitchell as Driscoll who at times seemed like the only reasonable person on the ship. But the actor in the cast who surprised me most was John Wayne, so much so that at the start of the film I didn't even realise it was him. Wayne's Ole is completely different from most of the other parts he plays, he is understated, softly-spoken and feels very much like a real character. The film sort of falls down in the final third with the stupid stuff involving the drugging and Driscoll's death but other than that a solid film and a worthy nominee.

So while the men are journeying home what are the women up to? Well the answers to that are found in a nominee from the 1945 ceremony - Since You Went Away. The film has a mightily impressive ensemble cast headed up by Claudette Colbert, in what many consider her final great role. Colbert almost didn't take the part as a wife and mother waiting to hear news of her husband in the war, as she didn't think she was old enough to play the mother of two teenage girls. The story concerns the Hilton family and specifically Anne and her two daughters - Jane and Brig played respectively by Jennifer Jones and Shirley Temple trying to cope during 1943. The Hiltons are short on money so take in the long-in-the-tooth former serviceman Colonel Smogget, in order to keep up with the rent. Smogget's grandson Bill comes to visit him to tell him he's joined the army, however Smogget isn't really interested but Bill does end up falling in love with Jane and the two begin a relationship which is cut short by Bill's tragic death. The other story concerns Anne herself who is faithful to her husband despite being wooed by long time friend Tony, she also has to consider he place in the war effort and what she is actually doing to help after being apalled by comments made by her snooty friend Emily. Since You Went Away was one of the famous 'women's pictures' of the 1940s and was absolutely tremendous making what could've been just a romantic drama and turning into a film about family, friendship, belonging and finding your place. Colbert was denied the Best Actress Oscar as it went to Ingrid Bergman in Gaslight but she is fantastic here as are everyone in the cast which, as well as the three main actress, includes Joseph Cotten, Monty Woolley, Agnes Moorhead, Lionel Barrymore and Hattie McDaniel. Although many will be unfamiliar with the film itself, the scene in which Jane chases after Bill's train has been spoofed in many films most famously in Airplane. Overall another film that deserved all the praise it got but another film that was left out in the cold so the completely average Going My Way could scoop all of that year's prizes.

Okay so we're back on the road again, more to follow.

Matt's Big Oscar Challenge Days 88-89: Catch-up Part 2

Next to the Wild West firstly with John Ford's classic western Stagecoach which fell to the superior Gone With the Wind at the 1940 ceremony. Set primarily in the titular Stagecoach it sees a lot of disparate characters heading from Arizona to New Mexico. Among them are Claire Trevor's prostitute Dallas, Thomas Mitchell's alcoholic Doc Boone, Lucy Mallory a woman travelling to see her injured husband and a corrupt banker who is trying to abscond with $50,000 dollars from his place of employ. On their way the party pick up and arrest Wayne's fugitive The Ringo Kid but the group have to quickly bond together in order to avoid being finished off by the Apache gangs in the area. Along the way Lucy goes into labour and Doc Boone is called into action and later Ringo and Dallas form a relationship with Ringo proposing to Dallas who doesn't feel herself good enough to deserve happiness. Although some of the party don't make it all the way most of the people get their happy ending or receive their comeuppance. I really did enjoy Stagecoach finding it both a well-shot Western and a very intriguing character piece featuring some great performance especially from Trevor and Mitchell who won the award for Supporting Actor.

The other Western was a nominee from the 1944 ceremony, The Ox-Bow Incident, which didn't really have a chance up against Casablanca. Despite this it is an interesting little film about mob mentality after one of their ranchers is supposedly killed in an incident involving cattle rustlers a group of 25 set out to find those responsible. Among thsi group is Henry Fonda's Gil and his friend Art who join the group mainly to avoid suspicion themselves when three men are found they are automatically thought to be guilty. After finding the gun belonging to Kinkaide, all but seven of the group agree that the men have to be hung. As the group return they find out that Kinkaide is still alive and the men who they hung had nothing to do with it. The final scene in which all the members of the mob go to the saloon and drink in silence is particularly effective.The Ox-Bow Incident has a simple story and some good turns in a cast lead ably by Fonda, while it didn't do any particular damage at the Oscars I still think it deserved its nomination.