Seven Days In May (1964)

Olympus Has Fallen

***This Review Contains Spoilers***

Seven Days In May is a film which tapped into cold war paranoia but still has relevance for today’s increasingly unstable political world. Now that we have arrived in the age of Trump and many people would shockingly actually like the premise of this high concept political thriller to play out successfully in real life, what better time to revisit Seven Day In May. A military coup in the United States? This is the kind of thing that happens in banana republics, not in the most powerful nation on Earth. The fantastical set up is the appeal of a movie like this; the idea that the so called haven of democracy could potentially crumble. The big question though; could it happen in real life? Are the events in the movie plausible? To the laymen viewer they are at least.

Seven Days In May has some powerhouse actors with serious charisma talking some serious politics; no action, just heart pounding wordy exchanges. General Scott (Burt Lancaster) is a believer in a nuclear deterrent and doesn’t trust the Russians to hold their side of the deal. Is he someone who has genuine concern or is he a megalomaniac taking advantage of a situation or both? The pairing Burt Lancaster and Kirk Douglas couldn’t be a better combo as military personal with a mutual respect for each other. Their relationship is where much of the film’s emotion is drawn from with Douglas looking up to Lancaster and his eventual betrayal of him. Ava Gardner on the other and is the weakest link in an otherwise stellar cast. I’ve never thought much of her as an actress and this comes through here with a performance which is serviceable not much more.

The scene in which Kirk Douglas is pitched with the task of explaining to the President there may be a military coup to overthrow his administration is one of the best examples of expository delivery I’ve ever seen. I believe there are two reasons for this; firstly Kirk Douglas’ sheer screen presence and charisma and secondly, the tension drawn from him embarrassing himself while trying to explain such a fantastical military coup. He delivers the lengthy monologue nervous and under pressure but while still remaining dignified. Plus that camera zoom and head tilt when he summarises his monologue makes the hairs stand up.

John Frankenheimer is one of the most visually striking directors in black & white with his use of shades of tones, he has a very striking style. The Saul Bass style opening credits on the other hand show why the 1960’s was a golden age for title sequences as Hollywood attempted to draw audiences away from the TV and into the theatre.

Fredric March makes for a convincing leader as President Jordan Lynman. He is not a Trumpain figure, no he’s far humbler than that. His course of action over the last year bordered on criminal negligence, or at least according to General Scott. He has a 29% approval rating and the public has voiced “a universal rejection of your entire political philosophy” according to Gallop poll; he is a man who is not upholding his democratic mandate. Should there still be a respect for the office of the president if the country is against him? What’s more important, protecting a country against its government or loyalty to the constitution? The viewer is left to make up their own mind and the movie does not take sides. We never know the political ideology of any of the characters; the words republican, democrat, conservative or liberal are never mentioned. Seven Days In May is a movie with no clear cut hero or villain; both sides believe what they are doing is for the best of America and by extension the world. By the end the answer as to who Judas is not so black and white (“Yes I know who Judas was. He was a man I worked for and admired, until he disgraced the four stars on his uniform”).

A Woman’s Face (1941)

Two Faced Woman

I’ve watched A Woman’s Face five times as of writing this review and gets better every time I watch it. I’ve now decided, screw it, this is my favourite Joan Crawford film and considering there’s tough competition from Whatever Happened to Baby Jane?, Mildred Pierce and The Women, that’s saying a lot. Within the last year I’ve felt the motivation to watch A Woman’s Face three times, something which is almost unheard of for me. This movie is that good.

Every major cast member in A Woman’s Face is superb. I know that sounds like a generalization but it’s true. Firstly there’s Conrad Veidt. I adore every second this man is on screen; he’s just so delightfully evil. Yet I can completely buy into the romance he shares with Crawford, not only because he looks past her facial disfigurement and is unbothered by it but because he is so ridiculously charming. I’m swept of my feet by his presence. Melvyn Douglas is the other great charmer of the cast, whom I’ve yet to see paired with an actress who he didn’t share great chemistry. Ossa Massen, Reginald Owen, Albert Bassermann, Marjorie Main (unrecognisable here) and Donald Meek are also all equally memorable and stand out in their roles.

Of course there’s Crawford herself in a once in a life time role as a facially disfigured woman, a part few actresses would be prepared to play. Her character of Anna Holm only engages in deceitful acts because of society’s mistreatment of her since childhood but is otherwise good at heart. Throughout the film my heart pours out for the poor woman and yet even with the disfigurement I still find Crawford to be incredibly beautiful in this film.

A Woman’s Face is one of the few thrillers George Cukor directed, with echoes of Hitchcock throughout, such as the shots of the smelter plant and a waterfall in the background (similar to the scenery in films such as Foreign Correspondent), to the film’s suspenseful scenes such as that atop the cable car or the final climax. Since I consider this film far superior to Hitchcock’s thriller offering that year of, Suspicion, Cukor out Hitchcocked Hitchcock. With Cukor being one of the great masters of his trade, the cinematography of A Woman’s Face is a feast for the eyes. Technically speaking, the scenes at the hospital and Anna’s subsequent unbandageing are my favourite part of the film. Along with A Woman’s Face and the 1934 medical drama Men In White, makes me wonder if it’s just me or do medical interiors and apparatuses make for superb subjects to capture on film.

Being a remake of a Swedish film, there’s something somewhat unconventional about A Woman’s Face for a Hollywood film. The movie does manage to capture the essence of its Northern European setting, despite much of the cast supporting American accents.

I consider 1941 to be the greatest year in history of cinema. The output of this single year is the jealous vain of entire decades. A Woman’s Face just adds to this. Melodrama seems to have a bad reputation for no good reason. Like many things it can be done well and done poorly. A Woman’s Face represents the old Hollywood melodrama tailored to perfection.

White Heat (1949)

Get Up Stand Tall, Put Your Back Up Against the Wall

To date White Heat remains the only instance in which my first encounter with an actor instantly turned me into fan. Typically for me I become a fan of a performer over a period of time and after seeing a number of their films. Not James Cagney though. The scene early during White Heat in which Cody Jarrett gets a headache and needs to be comforted by his mother, my instant reaction was, “I need to watch any movie with this guy I can get my hands on”. I have no hesitation putting Cagney’s performance as Cody Jarrett in my ten favourite movie performance of all time. At this point in my movie watching life I had never seen an actor so on fire, so electrifying. His twitchy mannerisms, machine gun way of speaking his violence against women and possibly above all, his mother complex, exposing a unsettling, adorable side. Like wow, you do not want to be stuck in elevator with this guy. I would later discover White Heat came after the classic Warner Bros cycle of gangster movies, making White Heat a nostalgic revival of the genre, making Cody and his mother products of a different age. Margaret Wycherly as Ma Jarrett is the next great stand out performance for me, a character who appears as the stereotypical “aw shucks” mother common in classic Hollywood, but her attitude could not be more different.

Boy is this movie fast paced. White Heat is one of the few times my heart my beating so much out of how exciting the movie was. When the film was over I had the closest I could fell to that sense you get after coming of a rollercoaster, expect getting it from watching a movie. I feel that’s the best way to sum up White Heat, a rollercoaster of violence and emotions. Even the scenes of police officers discussing Cody’s psychological tendencies and the examination of their late 1940’s tracking techniques are riveting, but they do save the best for last. The Warner gangster movies ended with incredible final scenes with brilliant closing lines, White Heat’s may be the best of them all. I question if I’ll ever experience such a high level of movie watching euphoria on a first time viewing again.