Psycho (1960)

"AAAAAAH!" I'm paraphrasing, of course.

“A boy’s best friend is his mother.”

Quite a departure from the types of movies I usually review, Alfred Hitchcock’s Psycho is one of my top five favorite films and (in my humble opinion) undeniably the best horror/thriller ever made.

What makes this film so incredible is that it completely shattered the tradition of the typical thriller. It starkly and chillingly portrays insanity; which, at the time of its release, was not something ordinarily done. Yet again, Hitchcock relies on suspense, not gore, to shock the audience. He intelligently sets up relationships, motivations, situations…and then demolishes it all. It is a brilliant and utterly original film.

Psycho was released in 1960, eight years before the end of the Hays Code (or the Motion Picture Production Code). For those of you who don’t know, the Code basically established what could and couldn’t be portrayed in American films. I’m not going to list every do and don’t; I’ll just give the three main principles:

1. No picture shall be produced that will lower the moral standards of those who see it. Hence the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin.

2. Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented.

3. Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation.

As you can see, these were pretty strict rules. That’s not to say they weren’t good ones; only about one-tenth of the films that are released nowadays would pass the Code. The code was abandoned in ’68, in favor of the new MPAA ratings system (Psycho was re-rated M in 1968, and re-re-rated R in 1984).

Hitchcock filmed the movie in black and white, because, in color, “it would have been too gory”. There were a few shots that were left on the cutting room floor, as well as some lines that were found offensive. It’s really quite an event that this movie passed the Code. It’s not horrible, and quite tame when compared to any horror film made after Night of the Living Dead (1968), which is often credited as the main reason for the MPAA ratings system. Still, though, for audiences in 1960, it was shocking.

The ending, which I will not reveal here, gets me every time. I’ve probably seen this movie six times, but the end always gives me chills.

This is probably Hitchcock’s most intense, frightening film, and his first American film to be labeled a “horror” instead of just a “thriller”. It’s unlike any of his previous films, yet it keeps that wonderful Hitchcockian flavor. The first half-hour of the film is more of a thriller, or a drama. Nothing particularly exciting or frightening happens. That’s not to say it’s not interesting; I was enthralled from the minute the opening credits began. As Hitch himself said, “There is no terror in the bang, only in the anticipation of it.” Don’t be put off by the somewhat slow-moving beginning. Promise?

One last thing. The score for Psycho is one of the greatest ever written. Of course, everyone knows about the screeching violins during the infamous “shower scene”, but the entire film is full of masterful music by Bernard Herrmann. The opening credits begin with the pounding, pulsing, deep strings, which are soon joined by terrifying strings of a much higher pitch. It’s enough to put you on edge before even a second of film has been shown.

Watch it with the lights out. Turn the volume up. It’s awesome.

Summary

Arizona officeworker Marion Crane (Janet Leigh) cannot marry her lover, Sam Loomis (John Gavin), because most of his money goes towards alimony. She is exasperated with having to meet Sam during her lunch breaks. After one such meeting, Marion returns to her workplace, where her employer asks her to deposit $40,000 cash in a local bank. Desperate, angry, and impulsive, she leaves town with the money and heads toward California, determined to make a new life with Sam.

Night falls, and so does rain. This causes Marion to drive off the main highway, and to happen upon the vacant Bates Motel. She stops there for the night, where she is met by the shy and peculiar Norman Bates (Anthony Perkins). Marion discovers that poor Norman is dominated by his mother, and she agrees to eat dinner with him in the motel’s office. After dinner, she returns to her room, where she reaches a decision. She undresses and steps into the shower.

Information

Directed by Alfred Hitchcock;

Written by Robert Bloch (novel upon which it was based), Joseph Stefano (screenplay);

Starring Janet Leigh as Marion Crane, Anthony Perkins as Norman Bates, John Gavin as Sam Loomis, Vera Miles as Lila Crane, and Martin Balsam as Detective Milton Arbogast;

Produced by Alfred Hitchcock;

Music by Bernard Herrmann.

Facts

Martha Hyer, Eva Marie Saint, Piper Laurie, Hope Lange, Shirley Jones, and Lana Turner were all considered for the role of Marion Crane.

Alfred Hitchcock bought the rights to the novel for just $9,000. He then bought as many copies of the book as he could, to keep the ending a secret.

During filming, Psycho was referred to as “Production 9401” or “Wimpy”. The latter name came from the second-unit cameraman, Rex Wimpy, who appeared on clapboards and production sheets, and some on-the-set stills for Psycho.

This is the last film Hitchcock did for Paramount. By the time filming started, Hitchcock had already moved his offices to Universal, and the film was shot on the Universal backlot. Universal owns the rights today, though the Paramount logo still appears on the film.

Vera Miles wore a wig for this film, because she had shaved her head for her role in 5 Branded Women (1960).

Psycho is the first American film to show a toilet flushing on-screen.

Anthony Perkins was paid $40,000 for his role. Hee hee.

Psycho is ranked #1 on AFI’s 100 Years… 100 Thrills list.

The shower scene has over 90 splices in it. Hitchcock spent nearly a week shooting this scene, making sure no nudity was shown and that the knife never actually penetrated the skin.

The score is played entirely by stringed instruments.

As part of publicity campaign prior to release of the film, Alfred Hitchcock said: “It has been rumored that ‘Psycho’ is so terrifying that it will scare some people speechless. Some of my men hopefully sent their wives to a screening. The women emerged badly shaken but still vigorously vocal.”

Hitchcock thought it would be amusing if theaters would prohibit patrons from entering the film late. Surprisingly, theater managers went along with this, and it proved to be an extremely successful marketing gimmick. At one point, a man and his quite pregnant wife were deliberately sent to test the theater managers’ strictness. The man and his wife not admitted. Hee hee.

(When you watch, try to spot Hitch’s cameo! I’ll give you a hint: it’s near the beginning of the film.)

-luke

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Sullivan’s Travels (1941)

The willing vagabond.

“There’s a lot to be said for making people laugh. Did you know that that’s all some people have?”

Recently, I’ve found myself unwittingly watching ’50s movies. All. The. Time. Not to say that there’s anything wrong with ’50s cinema; some of my all-time favorite films were made during that glorious decade. However, I chose to explore the true “Golden Age” of Hollywood, and found that my ’40s binge was more rewarding than I could’ve hoped.

During this spree, I came across some of the finest films ever made and added several to my already lengthy favorites list. However, perhaps the greatest of all the 1940s films I watched was Preston Sturges’ masterful Sullivan’s Travels. I think the reason behind its obscurity nowadays is that it is somewhat overshadowed by films such as Citizen Kane, The Maltese Falcon, How Green Was My Valley, and Suspicion, all of which were also released in ’41. Still, for any fan of comedy, of superb acting and direction, or of stories that will leave you feeling happier, Sullivan’s Travels is a must-see.

I sat down to watch this film with, I must admit, fairly low expectations. Once it started, however, I staggered back in awe. Seriously, this is a great film.

(Dear reader, I realize that I say that quite a bit. So far, I’ve only reviewed my favorite films, and I’ve said roughly the same thing about each one: “This is a good movie!” Don’t worry; at some point, I will review some movies I hate. Won’t that be fun?)

Joel McCrea (one of my favorite actors), who has exhibited his enormous talent in nearly 100 films (spanning from the ’20s to the ’70s!), shows his comic adeptness AND his dramatic abilities in Sullivan’s Travels. He is an instantly likable fellow, and does not have too little or too much emotion. I first became cognizant of his skill when I watched Hitchcock’s early spy thriller, Foreign Correspondent (1940), in which he gives a (surprise!) great performance. And I’m not the only one who likes him; he has two stars on the Hollywood Walk of Fame.

Veronica Lake… *wolf whistle* I mean, what can I say about her that you can’t figure out for yourself? She’s gorgeous! (And, apparently, rather short. She measured 4′ 11 1/2″, whilst Joel McCrea was a “towering” 6′ 3″. It’s been said that, in some scenes, Lake had to be placed atop a box so their heads could be seen in the same shot.) I expected her to be aloof and seemingly unattainable, but in this film she was actually quite vulnerable, sincere, and, of course, unbelievably beautiful. Her presence is yet another compliment to an already fantastic film.

And I can’t sanely review this film without saying something about its writer/director, Preston Sturges. Sturges was the undisputed king of screwball comedy during the ’30s and ’40s (giving us films such as The Lady Eve, Miracle at Morgan’s Creek, The Great McGinty, and Hail the Conquering Hero, whose sly banter and clever storylines constantly challenged the Puritanical Hays Code). He was also THE FIRST prominent screenwriter to direct his own script.

One reason this satire of Hollywood is SO wonderful is the sincerity with which the story is told. I don’t mean it’s sappy. But it’s not just a continuous laugh-fest or a box-o’-Kleenex movie. It’s a brilliant, unpredictable mixture of both. For a comedy, it’s very moving; for a drama, it’s hilarious. I guarantee you’ll be satisfied, or your money back.

But wait, there’s more!

Synopsis

Tired of making fluffy, forgettable comedies, Hollywood director John L. Sullivan (McCrea) wants to put all his creative effort into a serious, socially responsible drama called “O Brother, Where Art Thou?” His producers point out that Sullivan knows absolutely nothing about poverty or suffering. Thus, Sullivan decides to put himself in a vagabond’s shoes (literally). However, his experiment hardly goes as planned, and he soon comes across a downtrodden aspiring actress, who longs to join him on his journey. And when the experiment seems to be nearly done, a series of events places Sullivan in a tighter spot than he had ever imagined.

Information

Directed by Preston Sturges;

Written by Preston Sturges;

Starring Joel McCrea as John L. Sullivan and Veronica Lake as The Girl (with a Sturges regular, William Demarest, as Mr. Jones);

Produced by Paul Jones (associate producer), Buddy G. DeSylva (executive producer, uncredited), and Preston Sturges (producer, uncredited);

Costumes by Edith Head;

Music by Charles Bradshaw and Leo Shuken.

Facts

Filmmakers Joel and Ethan Coen borrowed the title of John L. Sullivan’s fictional project for their 2000 film O Brother, Where Art Thou?

The author of the fake book, O Brother, Where Art Thou?, was an amalgamation of the names of Upton Sinclair, Sinclair Lewis, and John Steinbeck.

Preston Sturges supposedly got the idea for the movie from stories of John Garfield living the life of a hobo, riding freight trains and hitchhiking his way cross-country, for a short period in the 1930s.

Veronica Lake was pregnant during filming.

NAACP Secretary Walter White wrote a letter to Preston Sturges congratulating him for his “dignified and decent treatment of Negroes in this [the church] scene.”

Preston Sturges had originally intended to use a clip from a Charles Chaplin film for the church sequence, but Chaplin wouldn’t give permission. In an earlier scene, Joel McCrea does parody the Little Tramp character. The cartoon eventually used was Walt Disney’s Playful Pluto (1934).

-luke

The Court Jester (1955)

The perfect example of Kaye's comic versatility.

“King of jesters and jester to the king.”

Due to limited time, limited brainpower, and the aggravating unreliability of modern technology, this week’s post will be somewhat shorter than usual. *all four of SC’s regular readers emit a sharp gasp*

Are you ready to laugh? You’d better be. The Court Jester is perhaps the perfect introduction to comedy legend Danny Kaye. To give you an idea of how funny he really was, listen to this: he was Bob Hope’s favorite comedian, he received a Special Tony Award for heading a variety bill at the Palace Theatre, and he once conducted the Philharmonic Orchestra at New York’s Carnegie Hall with his feet. That’s what I call skill.

Anyway, a movie like this is indeed a rare find. It blends romance, adventure, and superb comedy. Wit, thy name is Kaye!  And Fine. And Frank. And Panama. And–sorry.

But seriously, The Court Jester is, quite simply, whimsy. It’s pure merriment. It’s one of those movies from which you walk away saying, “I didn’t learn a thing. But I had fun.” And, really, that’s what comedy is all about. Satire is great, I’ll admit. But, overall, I enjoy innocent and/or senseless humor much more than humor that makes a statement.

I contradict myself a lot, don’t I? Well, I apologize. But seriously, you’re going to have to get used to it.

There are some classic routines in this film, including “Vessel with the pestle…”, “The Maladjusted Jester” (a tongue-twisting song written by Kaye’s wife, Sylvia Fine), and the oft-repeated line, “Get it?” “Got it.” “Good.” Dana Carvey did NOT create that line. Carvey may be The Master of Disguise, but the title of Master of Comedy belongs to Danny Kaye.

(Wasn’t that a clever, bitingly sarcastic statement? I thought so.)

Here’s my professional suggestion: Make yourself comfortable. Watch this movie. Eat chocolate. That’s my technique, and it hasn’t failed me yet.

Synopsis

The throne of rightful king of England, the small babe with the purple pimpernel birthmark, has been usurped by the evil King Roderick. Only the Black Fox can restore the true king to the throne. The task falls to Hawkins (Kaye), the gentlest (and perhaps most clueless) member of the Fox’s band. The Fox’s lieutenant, Maid Jean (Johns), guards Hawkins and the babe while they travel, but when they meet the King’s new jester on the road, they decide to initiate a daring plan for Hawkins to replace him, become an intimate at the court, and steal the key. So, humble, bumbling Hawkins becomes Giacomo: the king of jesters and jester to the king.

Information

Directed by Melvin Frank and Norman Panama;

Written by Melvin Frank (screenplay) and Norman Panama (screenplay);

Starring Danny Kaye as Hubert Hawkins, Glynis Johns as Maid Jean, Angela Lansbury as Princess Gwendolyn, and Basil Rathbone (who is awesome, by the way; one of my favorite dramatic actors) as Sir Ravenhurst;

Produced by Melvin Frank (producer), Norman Panama (producer), Sylvia Fine (executive producer), and Danny Kaye (executive producer);

Music by Vic Schoen, Walter Scharf (uncredited), Sylvia Fine (songs);

Facts

Apparently Danny Kaye’s legs (in tights) were not satisfactory to the film’s producers, so they made him wear “leg falsies” to improve the shape of his legs. I, of course, would not need any such assistance.

Basil Rathbone was, in real life, a world-class fencer. Thanks to his efforts, the scene was filmed without injury. Supposedly, he later admitted that several times he was almost run through with Kaye’s sword. However…

…It’s also been said that Kaye’s sword movements were too fast for poor Basil, who, though still in great shape, was 63 at the time. Also supposedly, the fight choreographer dressed up as Rathbone’s character and was filmed from behind for the fast sections.

Oh, and if this post is completely incomprehensible, I have an excuse. I’ve been preparing for a big debate tournament all week, and I’ve just returned from the actual event. So, in conclusion, I apologize if the post is cryptic. It’s no fault of my own.

-luke

Chitty Chitty Bang Bang (1968)

The Wonder Car.

“Good morning. I hope you had a pleasant journey. In a few minutes we will be landing in Vulgaria.”

It’s fantastic. It’s absurd. It’s whimsical. It’s Chitty Chitty Bang Bang. Sure, it’s juvenile. That’s what makes it so fun!

If you’re like me, you remember this film from your childhood. And if you’re like me, you remember the undeniably singable songs, “Up from the Ashes”, “P.O.S.H.”, and, of course, the theme song. The songs in this film, masterfully created by the Sherman Brothers, are some of the rare songs you are happy to have stuck in your head.

But the songs aren’t everything. There is an exceptionally imaginative story, written by Roald Dahl (the mind behind Willy Wonka and the Chocolate Factory, James and the Giant Peach, and last year’s Fantastic Mr. Fox) and based on a novel by Ian Fleming (the creator of the enormously popular James Bond series). For pure, unhindered, surrealistic storytelling, there isn’t a better team on Earth.

Dick Van Dyke (who plays the eccentric inventor, Caractacus Potts, to perfection) had gotten his start in showbiz only a few years before Chitty’s release. A mere five years earlier, he had gotten his first starring role in the musical comedy, Bye Bye Birdie. In autumn of the next year, the extremely popular family film, Mary Poppins, was released, in which he played Bert/Mr. Dawes Senior. Then, of course, there was “The Dick Van Dyke Show”, which enjoyed a five-season run, from 1961-1966. Although Chitty was not well-received by critics (or audiences, at the time of its release), it remains my favorite Van Dyke film.

This film is nostalgia for many of us, but for those of you who have not seen the movie, I have a few warnings for you. Firstly, this film was made for children. However, it’s considerably more intellectual than anything you’ll find “for kids” nowadays. It’s a movie that explores imagination. Most modern children’s films ignore the miracle altogether. It’s a movie to make you wonder. It’s an exhilarating breath of fresh air. A rare find: a movie with heart.

Synopsis

In early 20th century England, eccentric inventor Caractacus Potts (Dick Van Dyke) struggles to make ends meet. He lives with his equally eccentric father (Lionel Jefferies) and his two children. When the children beg Caractacus to purchase their favorite plaything–a broken-down jalopy in a local junkyard–he does everything he can to obtain the funds with which to buy it. One scheme to raise money involves the unexpected assistance of a beautiful and wealthy young woman they have just met named Truly Scrumptious (Sally Ann Howes), the daughter of a candy factory owner. Caractacus eventually acquires the needed money and buys the car.

Using his inventing skills, Caractacus transforms the piece of junk into a beautiful working machine, which they name Chitty Chitty Bang Bang (because of the noise the engine makes). At a seaside picnic with his children and Truly, Caractacus spins a fanciful tale of an eccentric inventor, his pretty girlfriend (who is the daughter of a candy factory owner), his two children, and a magical car named Chitty all in the faraway land of Vulgaria. The ruthless buffoon Baron Bomburst, the ruler of Vulgaria, will do whatever he can to get his hands on the magical car. Furthermore, children have been outlawed in Vulgaria. Caractacus and the gang must save Chitty–and the children of Vulgaria.

Information

Directed by Ken Hughes;

Written by Ian Fleming (novel on which it was based), Roald Dahl (screenplay), Ken Hughes (screenplay), Richard Maibaum (additional dialogue);

Starring Dick Van Dyke as Caractacus Potts, Sally Ann Howes as Truly Scrumptious, Lionel Jefferies as Grandpa Potts, Gert Fröbe as Baron Bomburst, Anna Quayle as Baroness Bomburst, Benny Hill as Toymaker, and Robert Helpmann as Child Catcher;

Produced by Albert R. Broccoli (producer), and Stanley Sopel (associate producer);

Music by Irwin Kostal (conductor, music supervisor), Richard M. Sherman (music and lyrics), and Robert B. Sherman (music and lyrics).

Facts

Lionel Jeffries played Dick Van Dyke’s father, despite the fact that Dick Van Dyke is actually six months older than Jeffries.

Besides the failed Bob Hope film, Call Me Bwana, and the unfinished Nijinsky, Chitty Chitty Bang Bang is the only non-James Bond film to be produced by Albert R. Broccoli.

The colors of the floating Chitty–purple, green, and white–were the colors of the women’s suffrage movement of that time.

This is the first non-Disney film to feature songs by the Sherman Brothers.

Van Dyke only accepted the lead role on the condition that he would not have to attempt an English accent.

Director Ken Hughes reportedly hated the finished film.

Dick Van Dyke’s character was named for Caractacus, the last independent ruler of England before the Roman conquest of southern England.

The role of Truly Scrumptious was originally intended for Julie Andrews, but she was unavailable. Dick Van Dyke helped choose Sally Ann Howes because he thought her singing voice was ideal for the part.

The scenes in and around Baron Bomburst’s castle in Vulgaria were shot on location at King Ludwig II’s Castle Neuschwanstein, located at the foot of the Alps on the Bavarian-Austrian border.

The musical number ‘Toot Sweets’ took three weeks to film and involved 38 dancers, 40 singers, 85 musicians and 100 dogs. How would you like to wrangle that?

-luke

Some Like It Hot (1959)

There's only so much I'd do for comedy...

“Well, nobody’s perfect!”

It takes a certain amount of bravery to be an actor. Since the recent decline of the world of cinema, that statement doesn’t have as much truth as it once did. However, this week I’m recommending a film with two of the bravest actors I’ve ever seen.

Although director/cowriter Billy Wilder had considered such comedy legends as Bob Hope, Danny Kaye, and Jerry Lewis, he finally settled on the pairing of Tony Curtis and Jack Lemmon. This, as is evidenced by the film’s legendary status, was ultimately a good choice.

Most of the time, people do not voluntarily ask me questions concerning classic film. This is because they are aware of the onslaught of useless information which will inevitably follow such a question. However, I’m going to make a hypothetical scenario here: If someone were to ask me what the definition of screwball comedy is, I’d reply quite simply, “Look no further than Some Like It Hot.”

And, similarly, I’ll say to you, “If you’re in the mood for a good laugh, a movie with no deep probing into the mysteries of the afterlife, no overt political themes, no animated animal sidekicks, and certainly no metaphorical chess games with the grim reaper, this is the movie for you.”

Many reviews of this film sound as though they were written by psychiatrists. Don’t be put off by these ambiguous reviews. Listen to good ol’ Uncle Luke. I won’t try to say that Curtis and Lemmon dressed as women because they had a bad home life. I’ll simply say that they dressed up as women because it’s funny. I don’t mean to rant, but I hate it when reviewers make a plain-and-simple screwball comedy sound like a philosophical exploration of id and psyche. Give. Me. A. Break.

*sigh* Sorry.

Anyway, it’s a hilarious, ahead-of-its-time comedy masterpiece. Bon appetit!

Synopsis

After accidentally witnessing the St. Valentine’s Day Massacre, struggling musicians Joe (Tony Curtis) and Jerry (Jack Lemmon) find themselves on the run. In a last-minute attempt to escape from Chicago, Joe and Jerry don feminine getups and join a Florida-bound all-girl jazz band. Once at the hotel, Joe falls for fellow band member Sugar Kane (Marilyn Monroe), and he tries to maintain a double-life: the fictional millionaire beau of Sugar’s dreams, and Josephine, Sugar’s female friend. Meanwhile, Jerry (“Daphne”) has a rich suitor (Joe E. Brown) who won’t take “No” for an answer.

Then, of course, the Chicago mob arrives at the hotel.

Information

Directed by Billy Wilder;

Written by Robert Thoeren (story on which it was based), Michael Logan (story on which it was based), Billy Wilder (screenplay), I.A.L. Diamond (screenplay);

Starring Tony Curtis as Joe – “Josephine”, Jack Lemmon as Jerry – “Daphne”, Marilyn Monroe as Sugar Kane Kowalczyk, Joe E. Brown as Osgood Fielding III, George Raft as Spats Colombo, and Pat O’Brien as Detective Mulligan;

Produced by Billy Wilder (producer), I.A.L. Diamond (associate producer), and Doane Harrison (associate producer);

Music by Adolph Deutsch.

Facts

Bob Hope, Danny Kaye, Jerry Lewis, and Frank Sinatra were considered for the roles of Joe and Jerry.

It took 47 takes for Marilyn Monroe to get the line, “It’s me, Sugar,” right. After the 30th take, Wilder wrote the line on a blackboard. Another line, “Where’s the bourbon?”, required 59 takes. (I respect Billy Wilder for his patience. Personally, I would’ve killed someone by then.)

A preview audience laughed so hard in the scene where Jack Lemmon announces his engagement that a lot of the dialogue was missed. It had to be re-shot with pauses (and the maraca gimmick) added.

There’s been plenty of talk about Monroe’s behavior. Billy Wilder even said, “We were in mid-flight, and there was a nut on the plane,” when referring to Monroe. Indeed, Wilder publicly blasted Monroe for her behavior, and she was not invited to the wrap party.

Anthony Perkins (best known for the character Norman Bates in Hitchcock’s Psycho) auditioned for the role of Jerry.

Upon its original release, Kansas banned the film from being shown in the state, explaining that cross-dressing was “too disturbing for Kansans”.

In Russia, the film is titled “Only Girls Are Allowed In Jazz”. Hmm…

This, like most films by ’59 (for instance, Ben-Hur, Rio Bravo, and Sleeping Beauty) were filmed in color. However, Wilder filmed Some Like It Hot in black & white because Curtis’ and Lemmon’s makeup gave their faces a greenish tinge.

Some Like It Hot was voted #1 on the American Film Institute’s List of 100 Funniest Movies, and #14 on their List of 100 Greatest Movies.

-luke