Classic Film Review: How the West Was Won (1962)

How the West Was Won is an epic Western focusing on three generations of the same family. As well as three tremendous directors, it boasts a phenomenal cast: Carroll Baker, Lee. J. Cobb, Henry Fonda, Carolyn Jones, Karl Malden, Gregory Peck, George Peppard, Robert Preston, Debbie Reynolds, James Stewart, Eli Wallach, John Wayne, Richard Widmark, Walter Brennan, Agnes Moorhead, Harry Morgan, Thelma Ritter and Russ Tamblyn. Oh, and it's narrated by Spencer Tracy.

There are distinct sections in this film and it's rather difficult to review in light of all the separate bits. I will say that I enjoyed the opening parts with parents played by Karl Malden and Agnes Moorhead and the daughters played by Carroll Baker and Debbie Reynolds, the first of whom captures mountain man James Stewart and the second toys with Robert Preston before entrapping Gregory Peck. This is one of those films where it's much easier to refer to people by their actor name because it's a film where characters are symbols, the means by which we live through outlaws, white water, civil war, the railroad and Indian battles. The only character who lasts the film out is Lily (Debbie Reynolds), but even she only appears in three of the five sections. It makes latching onto character difficult, though Thelma Ritter makes an impact as a woman in search of a husband and Jimmy Stewart, despite being too old for his part, is as enjoyable as ever.

That said, it's certainly a film that merits watching at least once for what it depicts. It feels like an amalgamation of every Western every filmed and including some of the heavyweights of the genre certainly helps its credentials. There are some spectacular sequences including the white water scene in the first section and a brilliant train battle towards the end. Ultimately, these scenes are more memorable than any of the characters and, more memorable than even those, is the overarching ideal of the West that comes across via Spencer Tracy's narration.

Classic Film Review: The Glenn Miller Story (1954)

The Glenn Miller Story is, unsurprisingly, a biopic of the legendary band leader starring James Stewart in the title role. It documents both his professional quest to find the perfect 'sound' and his relationship with his wife, Helen (June Allyson), and includes cameos from stars such as Louis Armstrong and Frances Langford.

This film gets off to a slow start, as many biopics are forced to do, and it's a bit of a stretch to believe Stewart as a young Miller but this becomes less important as time passes on. The first half documents Miller's struggles with his music while focusing a lot on the love story between Miller and Helen. Stewart and Allyson are pretty brilliant together, with an easy rapport that makes their relationship feel natural. In addition, Allyson has some excellent scenes without Stewart which give her the chance to flex her sarcastic muscles a little more.

The second half of the film is essentially what happens to Miller after he finds that perfect 'sound' and the success both before and during the war. Naturally, this part of the film is full of Miller's most famous numbers and it becomes toe-tappingly good very quickly. The performance of 'Moonlight Serenade' where everything finally goes right sent shivers up my spine.

Of course, everybody knows the end to the Glenn Miller story and, yes, I'll freely admit to shedding a few tears at the end. That this film was made only ten years after his disappearance probably accounts for the sentimentality of it but, nevertheless, it's a film that lovingly depicts one of the great musicians of the twentieth century. My favourite scene is probably the anniversary where Miller and Helen both surprise each other. In that scene the strands of Miller's story are intertwined completely and it's beautiful.

Classic Film Review: The Greatest Show on Earth (1952)

The Greatest Show on Earth stars Charlton Heston as Brad Braden, the manager of a struggling circus. To ensure success for the coming season he has engaged The Great Sebastian (Cornel Wilde), despite the fact that this will displace his own girlfriend, Holly (Betty Hutton), from the centre ring. The two acrobats begin a deadly game of chicken high up in the air while the circus presses on from town to town. Meanwhile, Buttons the clown (Jimmy Stewart) hides a dangerous secret, mobsters fleece the customers and the elephant trainer has an unhealthy obsession with Angel (Gloria Grahame).

This is really Cecil B. DeMille's homage to the circus. As such, it's spectacular but, also, rather lengthy and long-winded in places. The narrative is stretched by over-long circus scenes, designed to show the skill of the real acrobats and performers drafted into the film. And, while on first viewing these were entertaining, they would put me off watching again because I like more story than stunts when I watch something.

That said, the plots are interesting but the main love triangle feels a little laboured. Brad is a dull character, though much better as a circus manager than Holly's love interest, while Cornel Wilde does a better job as the charismatic Sebastian. Hutton reins her usual boisterous performance in a little to create a sympathetic character in Holly who still gets to fly around and continue her battle with Sebastian. The culmination of that is well-played by both Wilde and Hutton. For me, though, the quiet star of this is Jimmy Stewart as Buttons. Even in full make-up, masking much of his expression, he still managed to give an excellent performance that stood out from the rest of the cast.

I liked how the plots all intersected for the explosive finale, which also stayed true to the characters. I did enjoy the film but the circus set-pieces make it doubtful I'll be interested enough to watch it a second time.

Classic Film Review: The Philadelphia Story (1940)

The Philadelphia Story stars Katharine Hepburn as socialite Tracy Lord. She's about to be married to the rather boring George Kittredge (John Howard) but ex-husband C.K. Dexter Haven (Cary Grant) is determined to cause mayhem before the ceremony. He's instrumental in getting journalist Mike Connor (James Stewart) and photographer Liz Imbrie (Ruth Hussey) into the wedding but he may not have banked on the attraction that springs up between his ex-wife and Mike.

Picking between the three leads of this film is nearly impossible. Hepburn shines in the role she was born for while Grant is perfect as Dexter. However, if I really had to pick, then it's Jimmy Stewart who steals the show. His drunk scenes with Cary Grant are downright hilarious, I'm smiling just thinking about them. But the chemistry between the cast as a whole is excellent. Ruth Hussey impressed me again (I saw her last month in Tender Comrade, 1943, reviewed here) and her scenes with Stewart are brilliant. There's also one gorgeous scene between Hussey and Grant which lingers in my memory. In addition, I loved the little relationship between the Lord sisters, Tracy and Dinah (Virginia Weidler) and the dynamics of the rest of the family.

The dialogue in this film is fast, witty and sometimes difficult to follow. It's both intelligent and funny, something sadly lacking in many so-called romantic comedies. Hepburn does aloof so well and her crash back down to earth is satisfying and fun to watch. If I had to pick a favourite scene (apart from Stewart's drunk ones), it would probably be the one in the pool house when Dexter interrupts Tracy and Mike and an argument ensues. That scene probably sums up the themes of the film, as well as being brilliant acted by all parties.

I can see why people call this Hepburn's best film. However, my soft spot for Bringing Up Baby (reviewed here) and The African Queen (reviewed here) and, for me, The Philadelphia Story doesn't quite knock them off the top spot. Still an excellent film though.

Classic Film Review: Vivacious Lady (1938)

Vivacious Lady stars Ginger Rogers and James Stewart as a couple who have a whirlwind romance, get married and then have to face his domineering father. Francey (Rogers) is singing at a club when Peter (Stewart) arrives to take his cousin, Keith (James Ellison), home to the town they live in. Unfortunately, Keith doesn't want to go because he has fallen for a girl. After five minutes alone with her, so does Peter and they quickly marry. When they travel to Old Shannon, though, they are met at the station by Mr Morgan (Charles Coburn) and Peter's fiance, Helen (Frances Mercer). Peter promises to break the news but finds himself increasingly unable to get past his father's self-importance.

This is a gorgeous little film. With Rogers at the height of her powers, she puts in a fantastic comedic performance as vivacious Francey, a woman who's not ashamed of who she is and doesn't want to feel her husband's ashamed of her. Equally, Stewart is hilarious as the occasionally bumbling professor who really does want to be his own man but frequently makes a hash of it. There are a couple of standout moments in this film. The first is when Francey gets into a rather physical fight with her romantic adversary. Rogers's comic timing in this scene is impeccable. Equally, when Peter decides to teach his father a lesson by getting drunk in front of a class the result is fantastic. Rogers and Stewart spark well off each other, and also off the rest of the cast. The other excellent moment comes with Francey, Keith and Mrs Morgan (Beulah Bondi) dancing along to the radio only to be interrupted by Mr Morgan. Again, Rogers's eyebrows are on their best behaviour.

I laughed out loud in several places while watching this. Yes, it employs the old whirlwind romance trope but it's so much fun that I couldn't help but enjoy it. It's a lovely comedy that I would thoroughly recommend, not least for a look at James Stewart, who seems so young in this one!

Classic Film Review: Anatomy of a Murder (1959)

Anatomy of a Murder stars James Stewart as Paul Biegler, a lawyer defending Lieutenant Manion (Ben Gazzara) who killed the man accused of raping his wife, Laura (Lee Remick). Working alongside Biegler are his good friend and associate Parnell Emmett McCarthy (Arthur O'Connell) and his secretary Maida Rutledge (Eve Arden). Using the defence of temporary insanity, Biegler tries to untie the knots of secrecy around the murderer and his victim.

This film feels very authentic. Something which adds to this authenticity is the casting of real-life lawyer Joseph N. Welch as Judge Weaver. The tension in this one builds solely from the courtroom scenes - there are no flashbacks of the rape or murder leaving the viewer trying to separate the truth from the lies. Stewart excels as Biegler but, really, all the cast are brilliant, right down to the little dog who becomes important in the trial. There is a definite rapport between Stewart and O'Connell, something which adds a subplot to a film which is very heavy on occasion. I can understand why it may have caused offence on first release in 1959 - a pivotal point in the trial is an undergarment which is discussed in open court. In addition, there are other details about the rape revealed which make uncomfortable viewing now, never mind in 1959.

I wasn't wholly convinced by the performance of Lee Remick as Laura, although it did add to the doubt around the whole situation. There were moments of real intensity such as when she recounts to Biegler the details of the rape but a couple of her scenes feel too false in such a realistic film. This was the straightest role I've seen Eve Arden in to date and she was fantastic, providing a couple of laughs to ease the tension as the film progressed - I particularly liked Maida's comment that Biegler couldn't sack her until he'd paid her. Arden really was excellent but, then, I haven't found a performance of hers I didn't like. This one was just a little more serious than some of the others, proving that she wasn't simply a wise-cracker.

Although a little long at 160 minutes, Anatomy of a Murder is a psychological triumph. Watch out for the cameo by Duke Ellington who also provides the soundtrack because, of course, Paul Biegler is a jazz-loving lawyer. There are some memorable specific scenes in this one but perhaps the extended courtroom drama is memorable all on its own.