1958 - Auntie Mame

I've been sitting here for quite a while trying to think of something to write about for this intro. I've had a couple of ideas but, after writing a sentence or two, decided they weren't all that interesting. Of course, writing about how I couldn't find anything interesting to write about is undoubtedly even less interesting than if I'd just written about the uninteresting thing, but I'm finished now and I couldn't be bothered rewriting it again. I guess I need to do more interesting things so that I can write about them.

Anyhoo, our review of the nominees from the 1958 Best Picture race continues with...


Auntie Mame
Director:
Morton DaCosta
Screenplay:
Betty Comden & Adolph Green
(based on the novel by Patrick Dennis and the stage adaptation by Jerome Lawrence & Robert E. Lee)
Starring:
Rosalind Russell, Forrest Tucker, Coral Browne, Fred Clark, Roger Smith, Patric Knowles, Peggy Cass, Jan Handzlik, Joanna Barnes, Pippa Scott
Academy Awards:
6 nominations
0 wins

Mame Dennis (Russell) is a vivacious socialite in 1920s New York, famed for her bustling parties. When her brother dies, Mame becomes the guardian of his only son Patrick (Handzlik & later Smith). But as a safeguard against Mame's penchant for excess, her brother assigns trustee Dwight Babcock (Clark) to ensure Patrick is raised conservatively. Mame and Patrick quickly become enamoured with each other but after the stock market crash of 1929, Mame loses almost everything. Forced to find work, she applies every effort to secure a decent life for Patrick, while attempting to foster in him a love of adventure.

Classic Hollywood extravagance is on display in Auntie Mame. The characters are bright and bubbly, the clothes are fancy and the sets are lavish (albeit unnaturalistically stylised). Even the lighting gets in on the action. At the end of almost every scene, the stage lights are completely dimmed except for a single spotlight illuminating Mame's face, which I can only assume is intended to symbolise her constant need to be the centre of attention.

As if to match the title character's own flightiness, the story itself moves around a lot, almost as if it were a series of anecdotes told to us by an outside observer. Despite some farcical elements, it has the feel of a real-life biography, which at first glance, seems to be confirmed by the fact that the author of the source novel is one Patrick Dennis, which is the same name as Mame's nephew in the film. It turns out, however, that's merely a pseudonym for Edward Everett Tanner, and while Tanner had an eccentric aunt, he repeatedly denied that Auntie Mame was based on her.

Rosalind Russell (pictured) delivers an accomplished performance in the titular role, showcasing her comedic ebullience while also finding moments to pull at our heartstrings. In fact, the entire cast all prove to be well versed in broad comic timing, providing plenty of double takes and light slapstick. Peggy Cass, in particular, stands out with her delightfully hilarious portrayal of the mousy Miss Gooch. Both Russell and Cass originated these roles on Broadway and both received Oscar nominations (for Best Actress and Best Supporting Actress, respectively) to pair with their Tony nominations two years prior. (Cass won the Tony, but not the Oscar. Russell lost both.) Along with those two acting nods, the film was also cited for Best Picture, as well as three deserving craft nominations: Color Art Direction, Color Cinematography and Film Editing. But just like fellow nominee Cat on a Hot Tin Roof, it failed to win a single Oscar from its six nominations.

1958 - Cat on a Hot Tin Roof

Recently, I've had the opportunity to twice visit a cinema here in Sydney that I've written about before - the Ritz. On the weekend, I took the whole family to see a special screening of Inside Out 2 (I guess we contributed to the film's immense global box office numbers). And while I'm sure the Ritz's main revenue must come from new releases like that, it's one of the very few movie theatres in town that has a robust classic film program, including many 35mm and 70mm screenings. There's a complete Kubrick retrospective imminent, but it's the year-long Classic Matinees series that will likely see me returning often, as I did yesterday for the following film.

So let's take a look at another picture from 1958's Best Picture shortlist...


Cat on a Hot Tin Roof
Director:
Richard Brooks
Screenplay:
Richard Brooks & James Poe
(based on the play by Tennessee Williams)
Starring:
Elizabeth Taylor, Paul Newman, Burl Ives, Jack Carson, Judith Anderson, Madeleine Sherwood, Larry Gates, Vaughn Taylor
Academy Awards:
6 nominations
0 wins

The wealthy Pollitt family gathers together at their estate in Mississippi to celebrate the birthday of patriarch Big Daddy (Ives). Brick (Newman), a morose and alcoholic ex-athlete, pines for his glory days while neglecting his wife Maggie (Taylor). Consequently, the couple have no children, while Brick's brother Gooper (Carson) and his wife Mae (Sherwood) have five with another on the way. With Big Daddy's ailing health on everyone's minds, the family's long-held secrets begin to emerge.

While my usual gripe about stage adaptations is indeed applicable here, Cat on a Hot Tin Roof finds a way to be captivating despite those issues. There are plenty of long scenes heavy with dialogue, and while some of them test the audience's patience, others contain such high levels of tension that we almost don't want them to end. On the other hand, the theatricality is very apparent in the direction. Brick, in particular, is often seen staring past the camera with his brooding blue eyes as another character pontificates directly behind him. Staging like this might be a necessity in the theatre, where there is no fourth wall, but on screen, perhaps because it is so closely associated with soap operas, it can seem superficial and melodramatic.

Tennessee Williams, esteemed author of the source material, was apparently displeased with what he considered to be a watered down version of his play. Despite my experience with and love of the theatre, I was shamefully not all that familiar with the play, so while watching this film, it wasn't immediately obvious to me why Brick was experiencing such inner turmoil. Reading between the lines, I suspected that there was more to the relationship between Brick and his late buddy Skipper, but that topic of discussion was treated so vaguely, I wasn't sure if I was just imagining it. I'm not entirely sure the blame for that should be with the filmmakers, though. While 1950s Hollywood had begun exploring civil rights (as evidenced by fellow nominee The Defiant Ones), homosexuality on film was still very much in the closet, so to speak, thanks to the draconian Hays Code. And considering how greatly the characters expound on the topic of mendacity, there's an amusingly appropriate irony in the fact that a film about secrets was forced to keep one of its own.

The performances by each and every one of this accomplished ensemble are phenomenal. Everyone has their moment to shine. Paul Newman (pictured) is spectacular, expressing volumes with beautiful subtlety. Judith Anderson is also a standout as the matriarch trying to keep her family life in tact. Others of note are Jack Carson as the oft-dismissed brother fighting for his share, and Burl Ives, reprising the role of Big Daddy from the original Broadway production. Both Newman and Elizabeth Taylor garnered Oscar nominations for their lead performances. The film also snagged nods for Picture, Director, Adapted Screenplay and Color Cinematography, but walked away empty-handed.

1958 - The Defiant Ones

As I begin this review of a film directed by the late, great Stanley Kramer, I am reminded of the time that Kat and I briefly lived next door to his widow, Karen Sharpe. For one year in Los Angeles, we exchanged pleasantries as we ran into each other outside our front doors, but I regret never inviting her over to hear all the stories she must have. I knew she was a former actress, having worked on a vast array of classic films and TV shows, though it wasn't until recently that I discovered she has also won a Golden Globe! Plus, I'm sure she has insight into the making of some of her husband's timeless movies (though maybe not the one reviewed below since it was made before they met). But alas, while she was always very pleasant and kind, I never heard any of those stories. There just never seemed to be enough time. Kat and I were occupied with a one-year-old child at home, and Karen seemed to remain very busy with industry events, so no dinner plans were ever made. Before long, we had another child and moved to a different neighbourhood, and then later again, we moved to a different country, so I suppose the chances of hearing those stories are even more remote now. A missed opportunity, perhaps. 

On that note, let's embark on our journey through the Best Picture nominees of 1958 by taking a look at...


The Defiant Ones
Director:
Stanley Kramer
Screenplay:
Nedrick Young and Harold Jacob Smith
Starring:
Tony Curtis, Sidney Poitier, Cara Williams, Theodore Bikel, Charles McGraw, Lon Chaney, Jr., King Donovan, Claude Akins, Lawrence Dobkin, Kevin Coughlin
Academy Awards:
9 nominations
2 wins, for Best Original Screenplay and Best Black-and-White Cinematography

When a truck transporting prisoners crashes, two of the convicts seize the opportunity to escape. African American Noah Cullen (Poitier) and Caucasian John Jackson (Curtis), chained together at the wrist, already have a sharp disdain for each other, but with a posse led by Sheriff Muller (Bikel) on their tail, they must work together to avoid capture.

Produced at the height of the US civil rights movement, The Defiant Ones makes no bones about its profound social commentary. Many of the sensitive themes remain relevant today, but I'm sure this film must have seemed downright shocking to some when it was released 66 years ago. Surprisingly, however, the story is also peppered with a great deal of humour, dry enough to never undermine the film's sincerity.

Today, of course, the ending (spoilers ahead!) would perhaps be considered overly sentimental and idealistic. Not just because it's unlikely that the two protagonists would both sacrifice their chance of escape for the other, but that it may be somewhat objectionable to wrap up a film exploring race relations with a nice neat bow, as if to suggest they've solved racism. That said, maybe the whole "hey, look, we used to hate each other but now we all get along" trope hadn't really cemented itself yet. Besides, the closing moments are genuinely heart-warming, largely attributable to the superb performances from the leads.

Sidney Poitier and Tony Curtis (pictured together) bounce off each other brilliantly, both displaying great range. The Academy must have agreed since they each garnered a Best Actor nomination. As the compassionate and professional sheriff, Theodore Bikel shines, earning himself a Best Supporting Actor nod. Also worth mentioning is Lawrence Dobkin as the sharp-tongued newspaperman. The film's fourth acting citation went to Cara Williams in her supporting role as the lonely woman with no scruples. Lastly, keep an eye out for horror icon Lon Chaney, Jr. as Big Sam.