#oscars 32

[theoscarsproject]

Operation Petticoat (1959). During World War II, a commander finds himself stuck with a decrepit (and pink) submarine, a con man executive officer, and a group of army nurses.

This isn’t really my thing - the comedy is pretty slapstick, and the story never quite seems to find it’s footing.. That said, it feels really transitional as a movie, steering away from the bantering comedies of the 40s and 50s and int the situational, sexy ones of the 60s. It’s elevated by a great sense of frame and visual language too, which at least means that the movie, even when it’s droll, is watchable. 6/10.

[theoscarsproject]

On the Beach (1959). After a global nuclear war, the residents of Australia must come to terms with the fact that all life will be destroyed in a matter of months.

This is a pretty interesting take on the dystopian film, and a pretty enjoyable film over all. The cast is stellar, and it’s very well shot, and there’s a certain novelty for me seeing my hometown mentioned in a 1950s Hollywood blockbuster. That said, it’s slow, and we never quite get enough from Peck or Perkins to make the ending quite moving enough. 7/10.

[theoscarsproject]

The Diary of Anne Frank (1959). Harrowing story of a young Jewish girl who, with her family and their friends, is forced into hiding in an attic in Nazi-occupied Amsterdam.

This is a genuinely moving adaptation of Anne Frank’s diary, beautifully shot and tenderly told. You get such a heartwrenching sense of claustrophobia and fear throughout the film, but also of the wonder and innocence of Anne, who tries her best to make her days and her family’s days worthwhile. It’s lovely, and it’s tragic. 8/10.

[theoscarsproject]

Suddenly, Last Summer (1959). The only son of wealthy widow Violet Venable dies while on vacation with his cousin Catherine. What the girl saw was so horrible that she went insane; now Mrs. Venable wants Catherine lobotomized to cover up the truth.

The history and the people behind this film are perhaps more interesting than the film itself. Montgomery Clift was at the height of his pain and addiction, while Elizabeth Taylor had gotten him the role out of deep love for him. Clift’s pain is almost visible, and while he’s still charismatic, it’s not him at his best. Still, Hepburn and Taylor pull their share of the weight, and the story is compelling, if not a bit overwrought. 7.5/10.

[theoscarsproject]

Imitation of Life (1959). An aspiring actress befriends a black widow, but trouble arises when the latter is rejected by her daughter, who tries to pass for white.

This film is dated, and pretty cliche, but it’s also brilliantly shot, and has some really excellent performances. Juanita Moore and Lana Turner have lovely chemistry as two women trying to survive the hand they’ve been dealt (to the point I kind of wished they were the real love story of it), as do the younger cast with each other, and their movie mothers. It’s a good film, and one that’ll definitely make you shed a tear in the end. 7.5/10.

[theoscarsproject]

The Five Pennies (1959). Loring "Red" Nichols is a cornet-playing country boy who goes to New York in the 1920s full of musical ambition and principles. He gets a job playing in Wil Paradise's band, but quits to pursue his dream of playing Dixieland jazz. He forms the "Five Pennies" which features his wife, Bobbie, as vocalist. At the peak of his fame, Red and Bobbie's daughter, Dorothy, develops polio.

I haven’t been the biggest fan of Danny Kaye, but in The Five Pennies, I finally get it. He’s utterly charming as Red Nichols, an artist you can root for - charismatic, funny, and deeply romantic. I finally get his appeal. It helps that The Five Pennies is a sweet little tear jerker that invests in it’s characters and ultimately about the message it’s conveying. That sometimes sacrifice hurts, but that it’s okay. 7.5/10.

[theoscarsproject]

Wild Strawberries (1957). After living a life marked by coldness, an aging professor is forced to confront the emptiness of his existence.

It’s hard to understate how distinct Ingmar Bergman’s cinematic style is, and how affecting it is to watch. His movies almost seem to consume you, and Wild Strawberries is no exception. It’s not the sort of story I’m usually into, but this is a beautiful film, with startling cinematography and strong, compelling performances. And it surprises you, which is perhaps the nicest thing of all. 8/10.

[theoscarsproject]

The 400 Blows (1959). Moving story of a young boy who, left without attention, delves into a life of petty crime.

This is a deeply compelling, beautifully made film. The performances are excellent, particularly from Jean-Pierre Leaud as Antoine, and the effect of the whole thing really is felt. Still, it’s a little meandering for me, and while I enjoyed it, there was still something missing, particularly in the relationships between the characters. It was terrific, I just still wanted a little more. 7.5/10.