A powerful study of courage in the face of irrational odds, The Bridges at Toko-Ri (based on James Michener's novel) is no less patriotic than many other war films, but it dispenses with the gung-ho bluster to focus on the very real and tragic consequences of war. This is also one of the first films to openly criticise the morality of the Korean War while praising the honour and integrity of the men who fought it. Lt Harry Brubaker (William Holden) is one of those men: a lawyer with a loving wife (Grace Kelly) and two young daughters, who is recalled to duty from the Navy Reserve, his mission; to fly with a bomber jet squadron over one of the Communists' most heavily protected targets, the strategically vital bridges in the Korean canyon of Toko-Ri. Brubaker has his own noble protection from his fellow pilots (including Charles McGraw in a fine supporting role), admiring admiral (Frederic March), and from the helicopter scouts (Mickey Rooney, Earl Holliman) who saved his life on a previous missions. But his ambivalence--and his fear that the Toko-Ri mission will be his last--is what gives the film its potent emotional impact. Holden is perfect in his role, and director Mark Robson steadfastly avoids any false sentiment or macho theatrics that would diminish the film's devastating climax. The Bridges at Toko-Ri is also a superlative showcase for the naval operations; the aerial sequences earned an Oscar for special effects and the Navy's cooperation assures total authenticity in the "flat-top" aircraft carrier scenes. --Jeff Shannon, Amazon.com
When people think of James Dean, they probably think first of the troubled teen from Rebel Without a Cause: nervous, volatile, soulful, a kid lost in a world that does not understand him. Made between his only other starring roles, in East of Eden and Giant, Rebel sums up the jangly, alienated image of Dean, but also happens to be one of the key films of the 1950s. Director Nicholas Ray takes a strikingly sympathetic look at the teenagers standing outside the white-picket-fence 50s dream of America: juvenile delinquent (that's what they called them then) Jim Stark (Dean), fast-girl Judy (Natalie Wood), lost-boy Plato (Sal Mineo), slick hot-rodder Buzz (Corey Allen). At the time, it was unusual for a movie to endorse the point of view of teenagers, but Ray and screenwriter Stewart Stern captured the youthful angst that was erupting at the same time in rock 'n' roll. Dean is heartbreaking, following the method-acting style of Marlon Brando but staking out a nakedly emotional honesty of his own. Going too fast, in every way, he was killed in a car crash on September 30, 1955, a month before Rebel opened. He was no longer an actor, but an icon, and Rebel is a lasting monument. --Robert Horton, Amazon.com
In the entire history of American movies, The Night of the Hunter stands out as the rarest and most exotic of specimens. It is, to say the least, a masterpiece--and not just because it was the only movie directed by flamboyant actor Charles Laughton or the only produced solo screenplay by the legendary critic James Agee (who also co-wrote The African Queen). The truth is, nobody has ever made anything approaching its phantasmagoric, overheated style in which German expressionism, religious hysteria, fairy-tale fantasy (of the Grimm-est variety), and stalker movie are brought together in a furious boil. Like a nightmarish premonition of stalker movies to come, Night of the Hunter tells the suspenseful tale of a demented preacher (Robert Mitchum, in a performance that prefigures his memorable villain in Cape Fear), who torments a boy and his little sister--even marries their mixed-up mother (Shelley Winters)--because he's certain the kids know where their late bank-robber father hid a stash of stolen money. So dramatic, primal, and unforgettable are its images--the preacher's shadow looming over the children in their bedroom, the magical boat ride down a river whose banks teem with fantastic wildlife, those tattoos of LOVE and HATE on the unholy man's knuckles, the golden locks of a drowned woman waving in the current along with the indigenous plant life in her watery grave--that they're still haunting audiences (and filmmakers) today. --Jim Emerson, Amazon.com
Jim Stark... a kid from a 'good' family - what makes him tick... like a bomb? In one of cinemas most influential and gripping roles James Dean plays Jim Stark the new kid in town whose loneliness frustration and anger mirrored those of most postwar teens - and reverberates more than 40 years later. Natalie Wood (as Jim's girlfriend Judy) and Sal Mineo (in his screen debut as Jim's tag-along pal Plato) were Academy Award nominees for their achingly true performances. Director Nicholas Ray was also an Oscar nominee for this landmark film chosen as one of the Top-100 American Films by the American Film Institute.
Jim Stark... a kid from a 'good' family - what makes him tick... like a bomb? In one of cinemas most influential and gripping roles James Dean plays Jim Stark the new kid in town whose loneliness frustration and anger mirrored those of most postwar teens - and reverberates more than 40 years later. Natalie Wood (as Jim's girlfriend Judy) and Sal Mineo (in his screen debut as Jim's tag-along pal Plato) were Academy Award nominees for their achingly true performances. Dir
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