Classic Film Review: From Here to Eternity (1953)

From Here to Eternity stars Montgomery Clift as Robert E. Lee Prewitt, a soldier who has taken a demotion to move to a new unit in Hawaii. His new colleagues, headed by Captain Dana Holmes (Philip Ober), want him to resume his boxing career to help them to glory but Prewitt steadfastly refuses and is subjected to vicious treatment because of it. He finds an ally in Angelo Maggio (Frank Sinatra), a hot-headed soldier who has also made himself an enemy in the form of Sergeant Judson (Ernest Borgnine). Sergeant Milton Warden (Burt Lancaster) has his own problems as he embarks on an affair with Captain Holmes' wife, Karen (Deborah Kerr). And, though none of them know it, the attack on Pearl Harbour is inching ever closer...

This is one of those classics that I really ought to have seen already but, while it lived up to its reputation, I don't think it's going down on my list of favourites - that may just be because of the after taste of the ending, I'm not sure. Certainly, Montgomery Clift gives an excellent performance as Prewitt, reaffirming my belief that he was one of the best actors of his generation. Similarly, Frank Sinatra's lobbying for the role of Maggio paid off, easily his best acting performance as far as I'm concerned. Where I struggled, I suppose, was with Burt Lancaster who, really, doesn't inspire much in me. Deborah Kerr, whilst effective in the second half of the film, was a struggle for me too. It wasn't because she was playing against type, perhaps just than I was far more interested in the Prewitt/Maggio aspects of the story and oould've dispensed with the Warden/Karen strand, famous kiss in the surf or not.

There are a few scenes that linger with me from this one. Prewitt's confession scene to Alma (Donna Reed), when he explains why he won't box any more, is particularly riveting, as are his scenes following the drama with Maggio and Judson. The stand-out, though, has to be his morning wake-up call to the troops that brought tears to my eyes. Sinatra almost steals every scene he's in but the drunken wandering stands out as one of his best moments, adding a little humour to a dire situation. The aerial battle scenes are also excellent and a fitting end to the film where Lancaster finally looks comfortable.

Classic Film Review: Heaven Knows, Mr Allison (1957)

Heaven Knows, Mr Allison tells the story of Corporal Allison (Robert Mitchum), a marine who drifts to shore on a Pacific island to find that the only person there is Sister Angela (Deborah Kerr), a nun who has just buried the priest she accompanied to the island. They make plans to escape the island but these turn sour when Japanese troops turn up to make a base on the island. They are forced to seek refuge in a cave and see what happens next but the close proximity causes its own problems.

There are a few similarities in tone between this film and The African Queen (1951, reviewed here) but any notion of a love plot is complicated by Sister Angela's habit. The romantic tension between Mitchum and Kerr works a little but can't last. Essentially, we have to care about their survival and not any hope of a romantic conclusion. The film achieves this, in part, by making Cpl Allison a good, down to earth man who has no pretensions of intelligence. This role was the first of Mitchum's that I've had no problems with but it suited him perfectly. As for Kerr, her Irish accent did get a little grating at times (and some words got lost) but her best moments came as Sister Angela finally cracks while a drunk Allison is arguing with her. The veneer of calm she's managed to maintain throughout makes this moment all the more compelling.

The third star of the film is undoubtedly the setting. Beautifully directed and filmed on location, the island comes to life, playing an important role as the film progresses. Heaven Knows, Mr Allison is a decent film hampered partly by a bad title. It's worth a watch as an excellent Robert Mitchum film and as part of Deborah Kerr's catalogue of good performances.

Classic Film Review: Black Narcissus (1947)

Black Narcissus tells the story of a group of nuns dispatched to run a new convent and school high up in the Himalayas, led by Sister Clodagh (Deborah Kerr). The old palace they have been given for the purpose is perpetually windy, an attribute that adds to the tension in the film and is never neglected for a moment. In fact, the sheer love and detail that went into the setting and staging make it a film to remember. Although it was all created at Pinewood Studios, the film has an epic feeling about it, colourful and vibrant with the kinks barely noticeable.

Sister Clodagh faces many tribulations in her post but the worst threat comes from within - Sister Ruth (Kathleen Byron) develops a crush on local British agent Mr Dean (David Farrar) and becomes jealous of his difficult relationship with Sister Clodagh. This eventually leads to her mental instability taking hold and provides the climax to the film which takes place, rather fittingly, at the bell atop the cliff. Byron makes a thoroughly convincing villain and, although some early scenes seem over-the-top, her final descent into madness is nothing less than terrifying. Equally, the rest of the nuns have their small parts to play as they adjust to their surroundings, my favourite being Judith Furse as Sister Briony. The most intriguing cast member is probably Jean Simmons as local girl Kanchi who absconds with the general's son. It's an entirely silent part, requiring some skill in body language and manipulation of others without ever uttering a word. Having been distinctly unimpressed by Simmons in other roles, I may have come to appreciate her talent as Kanchi.

This film is rightly considered a classic. Everything from the cast to the atmospheric palace to the surrounding area is beautifully arranged. The bell that provides the backdrop for the finale becomes a running motif, as does the wind. The final scene of rain drops falling and then intensifying may be one of the most memorable finales in film history. It's so subtle yet poignant as the nuns disappear into the distance. Definitely one I'd recommend for those who haven't seen it and are interested in tense pieces of cinema.