The Bridge on the River Kwai: 1957

Starting The Bridge on the River Kwai, I thought I had seen it before, but as the film progressed, I realized I had confused this film with another World War II POW film. I expected to watch the story of a group of men working together to escape the prison camp, and instead, the film was more about the psychological effects of war and how principles are not always the best way to live one's life. One must use principles in addition to common sense and a desire to survive.

Alec Guinness stars as Colonel Nicholson, a by-the-book British officer who refuses to give in to Colonel Saito, the brutal commander in charge of the prison camp.

Colonel Nicholson with Colonel Saito

Despite threats and punishments, Nicholson remains firmly rooted in his principles. He will not allow Saito to break the Geneva Convention. He will not let his men slack on the job, even if their job helps the enemy. At the end of the film, however, Nicholson does seem to realize that blindly following his principles is not the way he should have been. Watching Nicholson at times can be frustrating because he seems so stubborn, yet he is logical in what he says. Often, though, I found myself siding with the medical officer, Major Clipton.

The film includes one escape, which is early on in the story. Of the three men, one survives, the American soldier Shears, who fits the role of the unwilling soldier. Shears didn't want to go into the war in the first place, and having spent months in a prison camp, he's moved further away from being a soldier in a unit to someone who looks out for himself. In ways, he is the voice of reason, explaining to Nicholson that without the hope of escape, what do the men have to live for? Shears is despicable throughout most of the story, but he does redeem himself at the end. He provides an interesting contrast, as the British soldiers and officers seem dedicated and noble while Shears, representing the Americans, seems frustrated that he's even a part of the war, perhaps reflecting some Americans' unwillingness to enter the war until America was attacked.

Although long, The Bridge on the River Kwai moves quickly, and while I had planned to split the viewing into two nights, I found myself completely hooked. I knew what was going to happen, but I didn't know exactly how the story would get there or the outcome of the characters. The film doesn't disappoint.

Around the World in 80 Days: 1956

It's been several weeks since I watched Around the World in 80 Days, and although I may not remember every detail, I enjoyed the film as a whole. It's the entertaining story of Jules Verne's character Phileas Fogg and his quest to travel around the world in 80 days (hence the title). Fogg makes a wager with other men at his affluent British club, and at the time the story is set, the quest seems nearly impossible. Fogg certainly has difficulties along the way with transportation, including incomplete train lines, missing ship departures, and operating a hot air balloon. As the film progresses, I found myself wanting Fogg to make it, even though there is a suggestion that he may be guilty of robbing a bank in England. At no point does the story really make Fogg a bad guy. He even goes so far as to save an Indian princess from a sacrificial death, and he treats his servant Passpartout with kindness.

Phileas Fogg with his loyal servant Passpartout and Princess Aouda

The faults with the film result primarily because of the time period in which it was made. The Indian princess is played by Shirley MacLaine, who is definitely not Indian, and this obviously white actress made her portrayal seem campy at times and offensive at others. She doesn't even look remotely ethnic, and there didn't seem to be much of an attempt to change that. Another fault was the clear master-servant relationship between Fogg and Passpartout. While yes, Fogg is kind to Passpartout and even cares about his loyal servant, Passpartout is treated with disrespect by other characters and becomes a caricature at points, emphasizing how not British he is.

Despite these faults, the film overall is enjoyable. In many cases, it appears that the film was shot on location (one exception being San Francisco where it's a poorly constructed sound stage), so the cinematography takes you along their journey. This does result in some longer shots to showcase the setting which add to the already long film (175 minutes), but considering how much money and time was spent to set up on these locations, I can't say that I blame the filmmakers all that much. The story itself is interesting; I found myself wondering why it mattered so much to Fogg to prove to these stuffy old men that he could in fact circle the globe in 80 days. But it set up this clear contrast between the old and new way, and since Verne set the story in 1872, a time when the old ways of life were giving way to the new, it makes sense to have a story that showcases how technology is rapidly changing the world. For modern audiences, of course, it does require us to forget about just how quickly one person today could circle the globe and how easy all our technology would make this trip. 

Movie Trailer

Marty: 1955

I didn't expect to find such an endearing, heartwarming character or story after watching the last five or six films that earned Best Picture. Marty is a pleasant surprise. I found myself actually becoming lost in the story, as opposed to checking the time and wondering how much longer I would have to spend watching the film. I think what made Marty enjoyable for me is that it is the story of an underdog, but it's also a story of a love and family and how sometimes our friends and family don't truly understand us.

Marty (played by Ernest Borgnine, who won Best Actor for this role) is a butcher living in the Bronx with his Italian mother. All his siblings are married, and since Marty is the oldest, all his customers (women) constantly ask why he isn't married. The opening scene shows just how frustrating this is for Marty. A few scenes later, Marty's own mother gives him a hard time about not being married, and Marty finally loses it:

Marty with his mother

I couldn't help but feel sympathy for Marty. He's an all-around nice guy, but he can't seem to find a girl. And he's pretty much given up because he's tired of being turned down. Yet the very same night he has this argument with his mother, he meets Clara (Betsy Blair), a sweet girl who has also faced the same heartache as Marty.

Clara and Marty

Perhaps the main reason Marty's story is so appealing is its universality. Who hasn't been let down in love? Who hasn't faced some sort of disappointment? Who hasn't had to deal with family issues? Marty's story reminds us that we shouldn't give up.

Within the film, there is another storyline, albeit small, that focuses on Marty's mother and her sister. Marty's sister lives with her son and daughter-in-law, and this living arrangement simply isn't working. The mother-in-law and daughter-in-law cannot share the same house or kitchen. In this storyline, the screenwriter explores the dilemma of the older mother in the 1950s. As empty-nesters and widows, they have no one to take care of, and unlike today's retired women, they have no hobbies. They know how to and want to cook and clean. Their lives were about their children and husbands, and now that they are alone, they have nothing. Hearing their stories and fears makes me grateful to live in a time when there is life after children. Today, mothers are still mothers, but they embrace their roles as grandmothers and have so many opportunities to be involved in their communities and to simply enjoy life. This storyline reminded me of an interview I heard recently with Ethan Hawke, who starred in Boyhood. When asked about the film and growing older, Hawke explained that growing old shouldn't be feared. All that is happening is we are moving into different stages of our lives, just as we did in childhood, and what we really fear is the change that comes with those stages. His comment resonated with me because I can already look back and see times in my life where I had to move into a new stage and despite the excitement I had I was also scared and wanted to stay where I was. These mothers are in that situation themselves. They are not ready for this new stage in life, and unfortunately, their society doesn't present many options to them.

Marty is absolutely worth seeing, especially if you need a reminder that there are genuine people in the world and that good things do come to those who wait.

On the Waterfront: 1954

Marlon Brando won an Oscar as Best Actor in On the Waterfront, and after seeing the film, it's really no surprise to me. Brando was so completely convincing as Terry, a dockworker who, due to a difficult childhood, has connected with the mob yet feels at odds with his decisions in life. Terry's conscience almost becomes another character in the film he struggles with what he has done in the past and what he should do in the future.

Typically, I'm not a fan of mob movies. I'm not looking forward to venturing into the 1970s on this blog and watching The Godfather, again, or then having to watch The Godfather 2. I get that these films appeal to audiences and create interesting conflicts for filmmakers, but it's just not a genre that interests me. On the Waterfront becomes less about the mob, though, and more about doing what is right even when it's difficult. Terry knows what is right, but his entire life he has looked out only for himself. And it's kind of understandable. Terry was an orphan and lived in a children's home (which he says wasn't much of a home), so to simply survive, he's had to look out for his own best interests. Terry hasn't even been that successful in life. Most of the characters call him a bum, and as far as his role in the local mob, he has little power. He simply does what they tell him to do for a little cash. It doesn't make what he does okay, but it does put him on the border. He's not exactly part of the mob but he's also not a regular dockworker. As a result, he becomes isolated because neither group fully accepts him. In a way, Terry is a sympathetic character despite his selfishness.

One pleasant surprise in On the Waterfront was the chance to hear the original "I coulda been a contender" line:

Source: https://www.youtube.com/watch?v=uBiewQrpBBA

Terry is speaking to his brother about a fight he had to throw. I had heard the line quoted many times, but I didn't know the context of the original or the power with which Brando delivered it. The line has become a cliche, but in the original, the line seems so genuine and real. It conveys Terry's disappointments in life and how much he wants his brother to understand what he's given up.

On the Waterfront does have a romantic storyline as well, with Edie (Eva Marie Saint) as Terry's love interest. Their romance faces multiple obstacles and functions primarily to heighten the drama as opposed to providing some hope in a dark world.

Terry with Edie

Although On the Waterfront was worth watching to see Brando's performance and a well-written story in which justice prevails, it's not a film I'll revisit. Most of the film is dark, and while the ending is hopeful, I don't think I need to see it again.