#oscars 33

[theoscarsproject]

Midnight Lace (1960). In London, a newly-wed American woman's sanity comes into question when she claims to be the victim of a stalker.

This isn’t a bad movie exactly - in fact, it’s a pretty fun little mystery thriller, but it leans heavily on tropes and cliches, and the twist of the end is, as a result, pretty obvious from the outset. Doris Day is, as always, a commanding screen presence, and there’s some terrific art department throughout, but otherwise it’s a fairly basic thriller. 6/10.

[theoscarsproject]

It Started in Naples (1960). Mike Hamilton, a Philadelphia lawyer, comes to Naples to settle the estate of his long estranged "black sheep" brother. Once there, he discovers that the deceased has left an eight-year old little boy named Nando, who is being raised by Michael's sister-in-law Lucia Curcio.

This is a bit of a nothing rom-com that’s really elevated by it’s exceptional use of colour, costume and design. Sophia Loren is charming, but you really get the sense that Clark Gable is dialing it in. It’s light, and fluffy though, and not a bad way to spend 90 minutes. 6/10.

[theoscarsproject]

Sons and Lovers (1960). A young man with artistic talent who lives in a close-knit, English coal-mining town during the early 20th Century finds himself inhibited by his emotionally manipulative, domineering mother.

This is an interesting, albeit dated film. Jack Cardiff does a solid job of adapting D.H. Lawrence’s classic novel (even if it is a censored one), and the actors all really commit to their ever-shifting and evolving roles. It’s excellently shot, but the narrative build never quite hits the mark, and the implied darkness would work better if it was more effectively explored. 7/10.

[theoscarsproject]

The Magnificent Seven (1960). An oppressed Mexican peasant village hires seven gunfighters to help defend their homes.

This is a pretty straightforward adaptation of Kurosawa’s iconic, Seven Samurai, but John Sturges and William Roberts do a great job of transporting it from rural Japan to the wild west of America. It’s a sprawling epic that plays with ideas of loyalty, duty and purpose in a way that’s ultimately satisfying. It’s a good western, and one that deserved a lot more recognition than it received. 7.5/10.

[theoscarsproject]

The Sundowners (1960). In Australia's Outback during the early 20th century the impoverished Carmody family lives a nomadic life out of their wagon but the mom and son want to settle while the dad is against it.

It still gives me a bit of a kick to see Australia on screen like this. It’s not necessarily a great film, but it’s got heart, and it’s exploration of the lives we’re given versus the one’s we want is compelling and often a nice little fist to the chest. It helps that the performances are terrific, and the Australian landscape comes alive under Fred Zinnemann’s capable direction. 7/10.

[theoscarsproject]

The Entertainer (1960). Archie Rice, an old-time British music hall performer sinking into final defeat, schemes to stay in show business.

There have been a lot of films about actor’s struggling to get back on top of their careers in their twilight years - a lot of which are nothing short of iconic. The Entertainer isn’t quite that good, but it’s still a solidly entertaining and well-crafted film about a flawed man unable to get out of his own way. It’s one of the best performances from Laurence Olivier too, and he commits to every awful, albeit charming, act in the titular Entertainer. 7.5/10.

[theoscarsproject]

The Horse with the Flying Tail (1960). A palimino cow pony, through a series of owners and adventures becomes a champion mount for one of the US equestrian team.

This is actually a pretty good documentary, well-shot and compelling. I’m not super into horses, but my sister is, and it’s the sort of thing she’d actually love. It’s well-paced, informative, and the camera loves the titular horse. It’s solid, especially for the time. 7/10.

[theoscarsproject]

La Verite (1960). Dominique Marceau is on trial for the murder of Gilbert Tellier. The counsels duel relentlessly, elaborating explanations for why the pretty, idle and fickle girl killed the talented and ambitious conductor freshly graduated from the conservatory. Was it passion, vengeance, desperation, an accident?

This is a pretty fun, sexy courtroom drama about passion gone too far. Brigitte Bardot is utterly stunning, and she has some pretty fun chemistry with Paul Meurisse. Typically of this sort of film in this sort of era though, it’s way too long, and basically every act drags just a bit too much. Still, it’s worth checking out for the French bohemian life and the terrific costumes. 7/10.