In this Howard Hawks production, an arctic science team finds an alien buried in the ice, so they bring it back to their facility for closer inspection. Things go awry, the monster gets loose, and before long, all the men are in danger of becoming food for the alien’s progeny. This is a great atomic-age monster movie that well exceeds expectations for the genre and the period it was made.
Sinbad must rescue his wife-to-be from the clutches of an evil sorcerer who takes her away to an island full of dangerous monsters in this ebullient fantasy adventure from director Nathan Juran and pioneering effects artist Ray Harryhausen. Harryhausen’s stop-motion animation combine with Bernard Herrmann’s music to give this romantic adventure wings. You can see and hear the passions of both men in the film, and these achievements pretty much make The 7th Voyage of Sinbad what it is: sweet, charming, escapist fare for the whole family.
This terrifying tale of emasculation is my favorite sci-fi/horror flick from the atomic age. Grant Williams stars as Scott Carey, a man who gets caught in a strange mist while boating with his wife. Afterwards, he notices his clothes don’t fit quite like they used to. His wife assures him everything is fine, that he just needs to eat more. A few days later, she finds she no longer has to get on her tip-toes to kiss him, and before you know it, his wedding ring falls right off his shrinking finger.
A British colonel (Alec Guinness) leads his fellow POWs in constructing a bridge for their Japanese captors, unaware of the fact that allied forces, guided by a reluctant American (William Holden), have launched a covert mission to destroy it. David Lean’s film zips along remarkably well considering it’s nearly-three-hour running time. The film benefits from its exotic locale, Oscar-winning cinematography, and distinguished performances.
William Wyler directs this story about an Indiana Quaker family trying hard to keep their pacifist faith while the Civil War creeps up on their doorstep. The screenplay makes the period setting completely accessible, skillfully blending comedy and drama with character and substance. I quickly invested in the family, especially Gary Cooper as the father, a man who enjoys horse racing his neighbor to church on Sunday mornings. Dorothy McGuire is beautiful and endearing as his stalwart wife, and Anthony Perkins makes a memorable turn as their oldest son.
James Dean received the first posthumous acting nomination from the Academy Awards for his performance as the troubled Cal in East of Eden, his first major film role. (He would die tragically just a few months after the film was released.) It’s a riveting performance, one of the most vulnerable and moving I’ve ever seen. The film, directed with style and elegance by Elia Kazan, is based on the last quarter of John Steinbeck’s sprawling novel. Steinbeck believed the power of storytelling was in its ability to remind us of our own humanity, and when I learned that, it helped me understand why I’ve loved this movie for so long.
