My Favorite Films: From 70 to 61

Last month, I covered 80-71 of my favorite movies. This month, the countdown continues with an eclectic mix of films ranging from a B-mystery to a famous film noir with everything—a French classic, a George Stevens’ Western, jungle natives, and Spencer Tracy’s final screen appearance—in between. (An underlined title means there's a hyperlink to a full review at the Cafe.)

70. The Scarlet Claw - One of the best of all Sherlock Holmes films, this smart little mystery finds Holmes and Watson chasing a “phantom” over the marshes of Canada. The murderer, a former thespian, is a master of disguises—which sets the stage for several tense sequences. Nigel Bruce adds just the right amount of humor in this one and director Roy William Neill keeps the atmospheric proceedings moving at a snappy pace. This is easily my favorite Basil Rathbone Holmes film, to include the more expensive 20th Century-Fox pictures.

Roland Toutain and Jean Renior.

69. The Rules of the Game - Best described as a "comic tragedy," Jean Renoir’s 1939 masterpiece focuses on three themes: the relationship between and among the frivolous upper-class and their servants; the complex emotions between men and women; and the boundaries and expectations of society (the "rules of the game"). I first saw it in a college film class in the 1970s and it left a lasting impression. Although some contemporary audiences may find parts of it dated, it’s easy to see why critics often rank Rules alongside Citizen Kane as one of the greatest films ever made.

68. The Road Warrior – Originally called Mad Max 2¸ this sequel surpasses the original in every way. Whereas 1979’s Mad Max drowned in a bleak view of a post-apocalyptic future, The Road Warrior creates a mythic portrait of its hero and presents a world with a glimmer of hope. It also doesn’t hurt that it features some of the most exhilarating chase scenes ever filmed and a star-making turn by Mel Gibson. It’s a near-perfect action film and the thematic parallels with Shane (see below) don’t hurt either.

67. Guess Who’s Coming to Dinner – It’s easy to find flaws in this not-very-controversial film about a young interracial couple who plan to marry despite the objections of both sets of parents. I suppose that audiences in 1967 might have been more shocked if the groom-to-be wasn’t a handsome, educated do-gooder played by Sidney Poitier. But even if it’s simplistic, this last pairing of Spencer Tracy and Katharine Hepburn is a heartfelt, impeccably-acted tale of love and understanding. It always leaves me with a good feeling.

66. The Naked Prey – Cornel Wilde (who also directs) plays an unnamed jungle safari guide who works for a cruel ivory hunter. When the ivory hunter offends a tribe of natives, the members of the hunting party are killed or captured and tortured to death...except for Wilde. He is stripped and sent into the veldt, with a slight head start and a group of warriors in hot pursuit. The rest of the film is a brutal saga of survival, as Wilde struggles to find food and water in addition to fending off his ever- present pursuers. Not for the squeamish, this unique action film relies on visual storytelling with minimal dialogue.

65. The Dirty Dozen – A recurring motif among my list of favorite movies is what I call the “Robin Hood theme” in which disparate characters come together to form a team. I don’t know…there’s just something entertaining about watching a bunch of folks bond en route to saving a village, overthrowing an evil prince, or defeating the Nazis. That leads us to The Dirty Dozen, which finds the defiant, but effective, Major Reisman (Lee Marvin) faced with a dubious mission on the eve of D-Day. He must train twelve hardened military convicts to go behind enemy lines and assassinate a group of German generals cavorting in a well-guarded chateau. With an amusing first half and an exciting second half, The Dirty Dozen plays to the strength of its terrific cast, which includes Charles Bronson, Telly Savalas, John Cassavetes, Robert Ryan, and Ernest Borgnine.

Edward Fox as The Jackal.

64. The Day of the Jackal – This taut tale of a 1962 plot to assassinate French president Charles de Gaulle is potent example of the power of cinema. Despite knowing that the assassin—known only as The Jackal—is the villain, I find myself admiring his meticulous planning and (temporarily) rooting for him to accomplish his mission. Fortunately, a plot development late in the film always reels me back in so that I’m relieved when persevering detective Michael Lonsdale foils the Jackal at the final second. A clever plot, fine performances, and Fred Zinnemann’s expert use of European locations make this is a first-class thriller.

Gene Tierney and Vincent Price.

63. Laura – Otto Preminger’s film noir classic seems to improve with every viewing. What’s not to like? It features: one of the most memorable characters in the history of cinema (Clifton Webb’s Waldo Lydecker); a stunning plot twist involving the equally stunning Gene Tierney; a haunting music theme courtesy of David Raksin; and a detective hero whose obsession with the murder victim would be almost creepy in any other film.

62. The Charge of the Light Brigade – Often criticized for its historical inaccuracies, this Warner Bros. classic is nonetheless a top-notch historical action film. Against the backdrop of the Crimean War, Errol Flynn and Patric Knowles play brothers vying for the affections of Olivia de Havilland. An early scene informs us that Olivia’s character, though engaged to Flynn, has secretly fallen in love with Knowles. This knowledge causes us to empathize with Flynn’s British officer as his emotions evolve from disbelief to anger to understanding. I think it’s one of Flynn’s finest performances. The climatic charge, directed by Michael Curtiz, is an incredible sequence (although it resulted in many complaints over the mistreatment of horses).

61. Shane – I’m a sucker for a good tale of redemption and Shane is one of the best. Alan Ladd plays the former gunslinger who unexpectedly finds a home when he stops at a struggling farm. Shane fills a void in the life of each family member. For Joe, Shane is a “man’s man” willing to work or fight beside him—whether it’s a barroom brawl or the war against a villainous cattle baron. For the wife Marion, Shane is the attentive suitor, who notices the little things that her reliable, but bland husband never does. And for little Joey, Shane is a substitute father who takes time to bond with him—something his busy father has had little time to do. Like many of the great Westerns, the importance of family triumphs over all.

Next month, I’ll reach the halfway point of this list with two Malcolm McDowell movies, two films with snowy settings, a colorful Judy Holliday classic, and the only feature directed by a classic film star.

A Heaping Helping of Sherlock Holmes

TCM kicks off a Christmas Day 2009 Sherlock Holmes marathon at 8:00 pm EST--on the same day that Sherlock Holmes, starring Robert Downey Jr. as the famous detective, debuts in theaters nationwide. To prepare for this outbreak of Sherlockian sleuthing, you may want to check out my earlier post Universal's Sherlock Holmes Series with Basil Rathbone and Nigel Bruce--A Top to Bottom Review.

Finally, every Holmes fan has a favorite film interpretator of the 221B Baker Street master detective. I've love to hear if you're a Rathbone afficionado, favor some of the one-time portrayers (e.g., Christopher Plummer in Murder By Decree), or go for a lesser-known one like John Nelville in the cult fave A Study in Terror. By the way, I like all of the movies just mentioned. But my two favorites are:

The Hound of the Baskervilles (1959)

Throughout the late 1960s and early 1970s, I tried in vain in see the Basil Rathbone version of The Hound of the Baskervilles (1939). Every time it was listed in the newspaper, I’d tune in eagerly—only to see Hammer Films’ 1959 version starring Peter Cushing. I later learned that copyright issues prevented the Rathbone film from airing for many years. When it finally popped up on TV (on The CBS Late Movie, of all places), I was somewhat disappointed. Though Basil was entertaining as always, his Hound was surprisingly inferior to the 1959 version. Indeed, the Hammer Hound has improved with age, like a fine wine or, more appropriately, a glass of sherry (the vicar in the film has a fondness for it).

The opening scene is a spirited retelling of the legend of the Hound of the Baskervilles, with David Oxley shining as the utterly despicable Sir Hugo Baskerville. After the hound disposes of Sir Hugo, we learn that Dr. Mortimer is telling the tale to Holmes and Watson at 221B Baker Street. It's a shrewd way to introduce the backstory and inject some action in what it is basically a low-key mystery.

The rest of the plot follows Conan Doyle’s novel fairly faithfully. Indeed, the minor variations in the adaptation make the story more interesting. The climax is a bit disappointing. The vicious hound, when finally glimpsed, turns out to be a Great Dane with a leather mask on its head. When it attacks one of the villains, you can see the actor grab the dog as it starts to run by him.

Still, The Hound of the Baskervilles is a highly enjoyable affair. Peter Cushing makes a superb Holmes, all nervous energy as if his brain can barely contain his superior intellect. His interpretation is every bit as good as Basil Rathbone’s more acclaimed one. Andre Morrell plays Dr. Watson straight, instead of providing comic relief (as Nigel Bruce, whom I still love, did in the Rathbone films). His Watson is intelligent, affable, and observant—very much like the character in Conan Doyle’s novels and stories.

Director Terence Fisher was on a roll, having previously helmed Hammer’s Dracula (1958) and Curse of Frankenstein (1957). As he did in those films, Fisher brings a colorful atmosphere and brisk pacing to the Holmes mystery. He also carefully masks the film’s modest budget. Listen closely and you can hear James Bernard’s music from Dracula being recycled. Also, the night scenes look very much like twilight or late afternoon (of course, even Hitchcock had trouble making night scenes look dark enough in color).

Ironically, Christopher Lee (who played Sir Henry Baskerville) would take his turn as the Great Detective in the mediocre German film Sherlock Holmes and the Deadly Necklace (1962). Cushing played Holmes again in a short-lived British TV series. Sadly, Hammer could never secure the rights to make additional Holmes films with Cushing and Morrell. (TCM will show it Dec 26, 2:45 am EST.)

The Scarlet Claw (1944)

Basil Rathbone spent much of his acting career stereotyped as a dastardly villain in films such Captain Blood, The Adventures of Robin Hood, and The Mark of Zorro. He played those parts so often that he spoofed himself—delightfully—in The Court Jester. Nigel Bruce fared no better, being typecast as a bumbling buffoon in The Charge of the Light Brigade, Rebecca, and many others. These two supporting players unexpectedly found themselves top-billed when, in 1939, Twentieth Century-Fox cast them as Sherlock Holmes and Dr. Watson in The Hound of the Baskervilles.

With his sharp features and abrupt delivery, Rathbone made an ideal Holmes—his interpretation is still considered the standard by which all others are measured. Although Bruce’s Watson is nothing like the cultured physician in the detective stories, the actor remains immensely likable and provides memorable comic relief. In addition to The Hound, Rathbone and Bruce made a well-received sequel, The Adventures of Sherlock Holmes. Then, unexpectedly, Twentieth Century-Fox decided to end its Sherlock Holmes series.

In 1942, Universal convinced Rathbone and Bruce to reprise their roles in a series of 12 Holmes pictures. These movies featured smaller budgets than the Fox films and, most significantly, they updated the action to modern day. In addition to his arch nemesis Professor Moriarty, Holmes got to battle the Nazis (Sherlock Holmes and the Voice of Terror) and dabble in espionage (Sherlock Holmes and the Secret Weapon). The best of the Universal series—indeed one of the best of all Holmes films—is The Scarlet Claw.

All but the opening scene takes place in La Morte Rouge, a small Canadian village surrounded by marshes and enshrouded in fog. Holmes and Watson go there in response to a letter from a dead woman (well, she wrote it while she was alive). The detective duo soon discover a trail of corpses and a glowing phantom that runs across the marshes at night. Oh, yes, and the murderer turns out to be a master of disguises, too.

There is much to like in The Scarlet Claw. Although never shown, the murders are appropriately grisly. In one scene, Holmes displays the five-pronged garden tool used to rip open the victims’ throats. The “ghastly apparition” on the marshes hints of a supernatural explanation. The settings, particularly the murderer’s riverside house, are impressive for a backlot film. And, above all, director/co-writer Roy William Neill compresses the mystery into a well-paced, compact 74 minutes. Like all the Holmes films produced during World War II, The Scarlet Claw ends with a patriotic wartime ode, this one a tribute to Canada.

The other Holmes films in the Universal series pale in comparison to The Scarlet Claw. Still, several of them are enjoyable little mysteries, in particular Sherlock Holmes Faces Death, House of Fear, and The Pearl of Death. (TCM will show it Dec 26, 12:15 pm EST.)