You Can't Take It with You
Frank Capra's 1938 populist spin on the George S. Kaufman and Moss Hart play about a family of happy eccentrics is a great deal of fun, though it significantly rewrites the original work and doesn't represent Capra (Mr. Deeds Goes to Town, Mr. Smith Goes to Washington) at his best. Jean Arthur plays a member of the blissful Vanderhof household who falls in love with a rich man's son (James Stewart) and brings him into her nutty home. Lionel Barrymore, who played such a bad guy eight years later in Capra's It's a Wonderful Life, is the wonderful Grandpa Vanderhof, who addresses God during the dinner prayer as "sir" and speaks plainly and beautifully of why it's good to be alive. Capra took this opportunity to rail against big business and champion the common man, but the overall tone of the film--typical for the director's comedies--is buoyant and snappy. --Tom Keogh
The Man from Laramie
Only John Ford excelled Anthony Mann as a purveyor of eye-filling Western imagery, and Mann's best films are second to no one's when it comes to the fusion of dynamic action, rugged landscapes, and fierce psychological intensity. The Man from Laramie is the last of five remarkable Westerns the director made with James Stewart (starting with Winchester '73 and peaking with The Naked Spur). This collaboration marked virtually a whole new career for Stewart, whose characters are all haunted by the past and driven by obsession--here, to find whoever set his cavalry-officer brother in the path of warlike Indians.
The Man from Laramie aspires to an epic grandeur beyond its predecessors. It's the only one in CinemaScope, and Stewart's personal quest is subsumed in a larger drama--nothing less than a sagebrush version of King Lear, with a range baron on the verge of blindness (Donald Crisp), his weak and therefore vicious son (Alex Nicol), and another, apparently more solid "son," his Edmund-like foreman (Arthur Kennedy). There are a few too many subsidiary characters, and the reach for thematic complexity occasionally diminishes the impact. But no one will ever forget the scene on the salt flats between Nicol and Stewart--climaxing in the single most shocking act of violence in '50s cinema--or the final, mountaintop confrontation.
For decades, the film has been seen only in washed-out, pan-and-scan videos, with the characters playing visual hopscotch from one panel of the original composition to another. It's great to have this glorious DVD--razor-sharp, fully saturated (or as saturated as '50s Eastmancolor could be), and breathtaking in its CinemaScope sweep. --Richard T. Jameson
Bell, Book and Candle
Staid, secure publisher James Stewart leads a quiet life until he meets his bewitching downstairs neighbour, Kim Novak. John Van Druten's lighthearted Broadway comedy becomes a lush if lightweight romantic vehicle for Stewart and Novak, who would reunite for Hitchcock's Vertigo the next year. Novak is at her best as a Greenwich witch halfway between the worlds of magic and mortals, looking after her dotty aunt (Elsa Lanchester) and mischievous warlock brother (Jack Lemmon) as they keep their skills in practice. Novak's specialty is making men fall for her, but it's a one-way street: when a witch falls in love, she loses her powers.
Director Richard Quine gives the witches an almost beatnik sensibility, a real Greenwich Village subculture hanging out in underground clubs and smart curio shops. Elegantly photographed in rich, glowing colors by James Wong Howe, Bell, Book and Candle is a fantasy world in New York set to a funky bongo-laced jazz score by George Duning. Quine's gliding camera is somewhat marred by abrupt editing, but his handling of actors is superb, in particular Novak, whose mysterious beauty masks inner turmoil and romantic yearnings. Ernie Kovacs appears as a wry author whose specialty is the supernatural, and Hermione Gingold is suitably florid as a witch elder with a penchant for theatricality. For once in his life Stewart is actually upstaged by the slyly comic performances around him. --Sean Axmaker
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