Showing posts with label Year: 1962. Show all posts
Showing posts with label Year: 1962. Show all posts

What Ever Happened to Baby Jane? (1962)

Brilliantly disturbing psychological horror thriller film adapted from a novel by Henry Farrell. 

Bette Davis and Joan Crawford star as two sisters, Jane and Blanche, with a deeply troubled relationship. Davis was once the popular child star “Baby Jane” Hudson, while Crawford is a former Hollywood star who, we learn, lost the use of her legs in an accident. Jane is increasingly unhinged and begins holding Blanche prisoner in their shared house.  

Directed Robert Aldrich nicely ramps up the tension, turning a bizarre situation into a terrifying one. It's difficult to predict how the film can be resolved, but the ending is hugely satisfying.

Days of Wine and Roses (1962)

Directed by Blake Edwards and adapted from a teleplay, this is an excellent portrayal of alcoholism and its destructive role on a couple’s relationship.

Jack Lemmon and Lee Remick are entirely convincing as a young, seemingly happy couple who slowly learn that they simply cannot be together, such is the destructive effect their addictions have on themselves and one another. 

Their downward spiral makes for slightly gruelling, if hypnotic watching.

Cape Fear (1962)

Terrifying thriller. Robert Mitchum plays a bitter, crazed ex-con who tracks down the lawyer (Gregory Peck) who sent him to prison, then begins to stalk and terrorise him and his family. 

It’s highly suspenseful, pretty much from beginning to end, and the two leads are both ideal for the parts. Mitchum has just the right amount of wry, amused cool and psychopathic edginess. Peck is perfect as his stiff, somewhat uptight opposite. Polly Bergen and Lori Martin are both compelling as the wife and daughter who quickly get pulled into the escalating drama. And Telly Savalas (with hair) is likeable as the private detective. 

It’s edge-of-the-seat stuff and I like the way the somewhat downbeat closing seconds get you thinking.

The Longest Day (1962)


At 178 minutes, this war epic is aptly named. It’s painfully slow: almost an hour goes by before a shot is fired. A D-Day drama with an all-star cast (42 international stars, according to the cover text), it tries to be panoramic in scope and ends up disjointed and unfocused. There are way too many characters in too many locations. Indeed, new people are being introduced (with title cards) pretty much all the way through. Weirder still, some of the big names – such as Richard Burton – are hardly in it at all. John Wayne is miscast: simply too clumsily wooden and ponderous to be credible as a lieutenant colonel. Meanwhile, the Germans are presented as bumbling and stupid, when clearly they were far from that. But the film is so keen to work as simplistic propaganda that it has no interest in humanising the enemy or even crediting them with tactical skills. It’s self-conscious about its propaganda, too. There are several jarring moments when characters tell each other that this day will go down in history and never be forgotten. The film should show rather than tell. There’s not a hint of moral ambiguity. As such it turns dynamic world-changing events into something surprisingly dull.

Dr. No (1962)


First James Bond film. All of the tropes are established:
• “Bond. James Bond.”
• Flirting with Miss Moneypenny
• “Shaken not stirred.”
• Women throwing themselves at him
• Car chases
• Exotic locations
• Mindless henchmen
• Odd, disfigured villain dwelling in lavish base

But there’s also an appealingly low-key quality. No helicopter explosions or dazzling special effects here. And the first half works well as a sort of detective story: an MI6 agent is killed and Sean Connery has to find out why.

The film gets stranger from the moment Ursula Andress emerges from the sea to collect shells. Suddenly it turns into more of an adventure story.

Parts of it are unintentionally comic – see the “dragon” (a tank with a blowtorch) and the nuclear decontamination showers – but overall it’s lively and entertaining enough to keep you hooked.

To Kill a Mockingbird (1962)


Brilliant adaptation of the Harper Lee novel. A seductively appealing small-town atmosphere turns nasty when a lawyer (Gregory Peck) defends a black man framed for a crime he didn’t commit. The film cleverly tells several stories: the court drama, the wider race-relations issues of the American South, and also the mystery of “Boo” Radley, the unseen neighbour who ends up playing a significant role in their lives.

Gregory Peck is fantastic as Atticus Finch, the kind, calm and intelligent lawyer and father of Scout (the narrator) and Jim. Their friend “Dill” is also excellent. These three kids (Mary Badham, Phillip Alford and John Megna respectively) deliver some of the best child acting I've ever seen. You watch their youthful innocence being lost as they learn about the dangers and prejudices of the world around them. Sadder than this is that the story seems more relevant than ever in Donald Trump’s America.