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The Man Who Knew Too Much (1956)

On hearing the news that icon Doris Day had died yesterday, my mind immediately went to some of her greatest roles like Calamity Jane (1953) and Pillow Talk (1959); however, I always found myself most affected by her brilliant performance as the mother looking for her kidnapped son in Alfred Hitchcock’s The Man Who Knew Too Much. A remake of Hitchcock’s 1934 film of the same name, this Hollywood remake stars James Stewart and Doris Day as a husband and wife whose son, Hank, is kidnapped while they are holidaying in Morocco. It is revealed that their son is being used as a pawn while the kidnappers plan to assassinate an important ambassador during his visit to London. It’s a film that shows the importance of family in a time of politically turmoil that feels just as relevant in its post-war 1956 as it did in pre-war 1934.

The Man Who Knew Too Much is my favourite Hitchcock film and much of it is attributed to Doris Day in her role as Jo Conway McKenna. The role is clearly tailored for Day as she plays a professional singer. This may not seem like a stretch as we watch her beautifully sing the Oscar-winning song “Que Sera, Sera (Whatever Will Be, Will Be)” but this changes the moment Hank is kidnapped. Day effortlessly brings an emotional depth to her character that she hadn’t really displayed earlier in her career, showcasing her talents as a dramatic actress. In particular, her acting in the final act of the film shows an explosion of all these emotions and her distress and longing to see her son are brought to her heart-breaking final performance of “Que Sera, Sera” that seems worlds away from the performance at the beginning of the film.

Made with a large Hollywood budget, Hitchcock makes use of multiple locations across two continents and yet somehow, the murder scene that place in the open market of Marrakesh feels equally as claustrophobic as the climatic orchestral scene in the Royal Albert Hall. Hitchcock never allows the audience to let their mind wander in his films as we are quickly assured not to trust anyone. One of my favourite locations used is a small Taxidermist’s shop and the struggle James Stewart has escaping the workers is tense as he is almost stabbed by a swordfish. Another intense scene that is recreated in the remake is the chapel scene in which the protagonists discover that the kidnappers run a local church. As the mass is under way, they clear stand out in the congregation and it is only a matter of time before they have their confrontation with the criminals. Everything about this scene in both the original and remake is brilliantly done because Hitchcock ensures that everything is directed slowly. There isn’t much physical movement as the mass takes place, the hymns are slow and droll with the speaker calm and paced in his sermon. The suspense is driven up until the moment everyone has left and they are the last visitors in the church.

It would be a true crime not to talk about the music in depth. Aside from its Oscar-winning hit that became synonymous with Day throughout her life, music is also integral to its film because it is used for the climatic moment during the assassination attempt. As in the original, it is the clash of cymbals that signals the shot. The kidnappers play the piece on a record player beforehand so the audience knows the moment. This is a clever move on Hitchcock’s part because we then know the moment when the shot will occur. Opposed to the suspense of the chapel scene, the Albert Hall scene is faster paced as the music quickens and the camera shifts between the gunman, Day, the ambassador and the orchestra. I feel that Hitchcock improved on this scene from the original as he used the same musical piece but it feels that the suspense is really played out and the production feels bigger as a whole which I feel the original lacked.

It’s a shame that this film isn’t discussed as much as some of Hitchcock’s other films because although it’s not a horror in the traditional sense of the word (ie. Psycho and The Birds), it still contains elements of horror from the writing and directing. I think it is a film that shows Hitchcock not only pushing boundaries on filmmaking but also showing how he is willing to improve on his own work.

What is your favourite Hitchcock film? Let me know in the comments below!

Doris Day, 1922-2019

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Disney Animated Classics: Numbers 1-5 Ranking

For the next few blog posts, I will be ranking all of the Disney animated Classics from best to worst (in my opinion of course). I say worst really loosely because I honestly can’t think of a Disney animation that I truly hate . I will review 5 at a time before listing a ranking at the bottom of the post. The likelihood is that Snow White will probably come first as it is one of my favourite films overall but there are plenty of Disney films that get my love as well.

The definition of a ‘Disney Animated Classic’ is it must have had a theatrical release. Therefore, with the exception of The Rescuers Down Under (1992) and Ralph Breaks the Internet (2018), no sequels are included in this list as they were all direct to DVD releases.

As ever, feel free to comment with your own personal ranking. The best thing about blogging is being able to have discussions with people who also love film so I am really interested in hearing what you all have to say!

Nevertheless, here’s my reviews of Disney animations 1-5:

1) Snow White and the Seven Dwarfs (1937)

The one that started it all, I have already made my love for this film clear in a blog post that you can read here. An adaptation of the classic Grimms’ fairy tale, Disney fought all odds to prove initial critics wrong when they believed audiences wouldn’t have the attention span or interest in an animated feature and it paid off big time, giving Disney the revenue to build the iconic Disney Studio and start an empire that would become synonymous with the American Dream.

2) Pinocchio (1940)

Following the success of Snow White, Disney took on another classic tale, an adaptation of Carlo Collodi’s Pinocchio. The story of a wooden puppet brought to life is charming and contains the classic song “When You Wish Upon a Star”. Pinocchio must show that he can be a good boy in order to become a real boy but he struggles, despite strong effort from his sidekick, conscience Jiminy Cricket. I actually think that Pinocchio is one of the darker films in the collection. It is full of manipulative characters such as Honest John and the evil Coachman and with scenes such as Pleasure Island and the encounter with Monstro the whale, Pinocchio is a tale of morality and questions what it actually means to be a good person.

3) Fantasia (1940)

The brilliance of this film cannot be talked about enough. Proving that he is willing to push even more boundaries in filmmaking, Fantasia looks at the relationship between animation and music. With music composed by Leopold Stokowski, the audience is transported into worlds of abstraction to clear stories filled with memorable characters. It’s hard not to think about “The Sorcerer’s Apprentice” segment with Mickey’s iconic wizard hat and red cape. My personal favourite is the closing “Night on Bald Mountain” with it’s brilliant gothic colour palette, haunting beginning and middle as chaos ensues before evil becomes eclipsed by light giving the film a beautiful gently lit ending as “Ave Maria” is sung.

4) Dumbo (1941)

There are plenty of scenes and aspects of Dumbo that I love. The tale of the big eared elephant has touched the hearts of many since its release. It’s important message on how differences shouldn’t matter is one that resonates with all people. With songs that range from the melodic “Baby Mine” to the trippy “Pink Elephants on Parade”, Dumbo is film that seamlessly switches tone in a matter of minutes. Its short running time actually feels longer because of this. However, with all this said, it is not a film that has entirely dated as well as other classics due to its racial profiling with the Jim Crow scene criticised for its use of stereotypes and the disturbing imagery given in the song “Song of the Roustabouts”. It definitely makes Dumbo an uncomfortable film to watch with this in mind.

5) Bambi (1942)

One of the most charming films in the Disney library, Bambi is the story of a deer who learns the way of nature and life in the forest. The animation in this film is second to none and I definitely find myself appreciating it more every time I watch it. The beauty is that there is no strict plot in Bambi, it shows life happening to him and how he is affected from learning how to walk, to talk, make friends to the unforgettable scene where his mother is killed by an unseen hunter. The music and inevitability of the death scene is such a poignant one in the Disney library and is often referred to as the most heartbreaking moment in a Disney film and it’s easy to see why. It is a film that is unafraid to show the realities of life and the evilness of mankind. Not to mention the adorable best friend Thumper who provided the iconic line “if you can’t say nothing nice, don’t say nothing at all”. This film will break even the hardest of hearts.

So that’s the first five films all done and dusted. Now for the important part. Where do they rank?

Here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Bambi (1942)

4) Pinocchio (1940)

5) Dumbo (1941)

All of these films are classics in their own right and this isn’t to say that those in the last couple of places aren’t bad because they’re not. I just personally prefer other ones over them. In my next blog, I will be looking at films 6-10 so keep an eye out for that.

What do you think? Do you agree? Disagree? Let me know where you would rank these films in the comments below!

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Fiddler on the Roof (1971)

When it comes to discussing musicals, there will be a few that spring to the minds of many such as West Side Story and The Sound of Music. One of the best and most iconic musicals ever is the 1971 film adaptation of Fiddler on the Roof. Following lovable milkman, Tevye (Topol) who lives in a small fictional town Anatevka that has a strong Jewish population. This community is in the midst of facing harassment from the current military regime and the film sees this harassment grow as tensions worsen. Directed by Norman Jewison from a script written by the stage production’s writer, Joseph Stein, Fiddler on the Roof remains a favourite among musical fans thanks to its array of songs and emotional storyline that still feels timeless today.

One of my favourite characters and performances, Topol is nothing short of exceptional throughout the film. Being the audience’s way into the world of Anatevka and often breaks the fourth wall by talking to the audience. He is an outsider to the wider society but it also seems that he is an outsider within his own community as well. In my mind, no one but Topol can pull the lead performance with such dedication and commitment to the character. It could be argued that Topol is synonymous with Tevye and vice versa but that is by no means an insult. Tevye is a deeply complex character, a man so ingrained in his religion and place in the community but there is also a struggle to fight against the ideals expected from him as he longs for more than what he has. who laments his life as a poor man as he tries to navigate the matches of his three eldest daughters. Tevye is a man who likes to talk and sing about the importance of tradition but the life he leads is anything but. He misquotes scripture, goes back on a promise to let the widowed butcher marry his eldest daughter, Tzeital, and allows a communist from Kiev to educate his younger daughters. Tevye is a man who wants to follow traditions but is inherently progressive which makes him an outsider amongst his own community at times.

Now I can’t write why I love Fiddler and not talk about the songs. From the lively intro “Tradition” to Tevye’s iconic soliloquy “If I Were a Rich Man” and of course the beautiful “Sunrise, Sunset”. There aren’t as many songs in Fiddler as there are in other musicals but each song makes use of the space and the cast onscreen. No two songs sound the same and yet they will be stuck in your head one way or other. With John Williamd adapting the music from stage to screen, the film doesn’t feel like a stage production at any point which can easily happen, especially when the locations are limited.

Another aspect that I appreciate is the colour palette for the film. Strong hues of orange glow against the rural backdrop of browns and greens. It brings a natural richness and peace to the film, particularly during the opening credits. Aside from the sunset glow, the candlelit setting for Tzeital’s wedding to Motel is another beautifully created scene and is directed flawlessly. Despite being set in an open space in the village with everyone in attendance, the reception after the ceremony feels claustrophobic as chaos ensues.

Overall, Fiddler on the Roof is a film that should be watched by all film fans not just musical fans. With a three hour running time, it’s easy to think that watching a musical for that long would be daunting and (dare I say) boring, especially if you’re not necessarily an avid musical fan but the pacing is fantastic and it doesn’t feel that long. With an intermission placed so you can easily take a break should you wish to, Fiddler on the Roof is an experience that should be enjoyed at least once. Featuring one of the best characters brought to the screen, it is sure to delight most people thanks to its fantastic music, captivating performances and beautiful landscapes.

What do you think of Fiddler on the Roof? Let me know in the comments below!

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Carol (2015)

One of the best films of the 21st century so far and a defining mark of LGBT+ cinema, Todd Haynes’ Carol is a film swimming in emotion as it explores the realities of a lesbian relationship in the 1950s. Adapted by Phyllis Nagy from Patricia Highsmith’s controversial novel The Price of Salt, Carol tells the story of Therese Bellevet (Rooney Mara), a young twenty-something trying to find her way in 1950s New York. Whilst working as a Christmas temp in a busy department store, Therese has a love at first sight encounter with Carol (Cate Blanchett), an older soon-to-be divorcee who is a darling to New York society. Much like the Christmas backdrop, the film is a present revealing more layers with every watch.

Haynes pulls out all of the stops for this production, playing all of his cards as a visionary. He managed to take the words on the page and create a universe that seems to belong to Carol and Therese. From the costumes by Sandy Powell to the music by Carter Burwell, the film is orchestrated by a beauty that stays throughout the film. What made the novel so controversial on release was its happy ending which was unheard of for stories regarding homosexuality and Haynes wanted to keep that. He wants the audience to know that this is their world and it is a beautiful one. The film appears traditional on the surface and yet groundbreaking in subtext. I think it is a huge mark in LGBT filmmaking.

The script by Phyllis Nagy is nothing short of phenomenal and is brilliantly faithful to the book. The changes that are made from the book are minimal but also crucial as I think the right choices were made to tell this story onscreen. My favourite scene in the film is when Therese agrees to go to lunch with Carol and the two get to know each other. It is natural and intimate with the sexual tension cutting through the undertones. Nagy makes every word linger and makes sure that no line is wasted. The film is fantastically paced, feeling like a slow train chugging forwards towards the inevitable climax that causes their bubble to burst. The sharp focus on the women themselves makes their love appear literally timeless, as if the world around them doesn’t matter. When the outside world does interfere and threaten them, it is done so that the audience is jolted back into reality from the dream that the women’s relationship had given.

Cate Blanchett’s performance as the titular character is glamorous to look at but tinged with the pain that has fallen on her and her family as her relationship with her husband, Harge (Kyle Chandler) has broken down. Carol has been known for her relationships with women, namely her best friend Abby (Sarah Paulson), who has remained a constant in her life after their romance ended. Blanchett takes control of the screen and is so captivating with every glance and word. There is an inevitable sadness that surrounds Carol even as she embarks on her love affair with Therese as she knows that the chances of their relationship surviving against the 1950s society isn’t likely. Her maturity and knowledge of the world allows her to be a mentor of sorts towards Therese as she knows how she is feeling.

Rooney Mara’s performance as Therese is the audience’s way into the events of the film as hers is the primary perspective throughout the film save for one or two scenes regarding the custody of Carol’s young daughter. Mara won the Best Actress Award at Cannes Film Festival and it’s easy to see where. Therese is at a very conflicting time in her life. Where Carol is assured and secure in her own sexuality, Therese doesn’t quite know what she wants or even understand her feelings at first. As the film unfolds, Therese becomes more confident and independent, breaking off her relationship with partner, Richard and focuses on her career and blossoming relationship with Carol.

Overall, I really recommend you check Carol out if you haven’t seen it. I can’t count how many times I have watched it despite it only being a few years old but I always found something new to focus on whether that is the score or set design. A film that was sorely overlooked by the Academy when it came to the Oscars, Carol will no doubt be a film that critics and film buffs will be looking back on fondly.

What did you think of Carol? Let me know what you think in the comments below!

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91st Academy Awards – Technical Awards

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My last blog on this year’s Oscars concludes with the Technical awards. This year has seen a huge number of large scale blockbusters that heavily use CGI to achieve their vision as well as smaller films that rely on using what they have. Both methods take imagination and it’s great to see films recognised across this spectrum.
Just in case you want to read my other blogs on this year’s Oscars, I’ll put the links below here:
Acting Awards
Creative Awards – Part 1
Creative Awards – Part 2
Creative Awards – Part 3
Here is my roundup of this year’s technology award winners!

Best Visual Effects
It seemed that Black Panther was the favourite to take this award home but the team for Neil Armstrong biopic First Man won. I feel that this film was deeply overlooked in various categories, particularly sound editing and this one throughout awards season but to see it recognised for its terrifically executed effects was deserved. I don’t think I have ever felt so claustrophobic watching a film before but this film managed to accomplish this from the first scene. Although the cast was the main talking point for this film on its release, I think that the visual effects were the standout feature of this film.

Best Sound Editing
I was happy to see First Man nominated in this category but given that it was up against box office smash Bohemian Rhapsody, I knew that it would lose. Personally, I feel that First Man should have taken this home but Bohemian Rhapsody is a film that relies heavily on its sound editing. I think that First Man used sound in a way that I hadn’t expected or seen before.


Best Sound Mixing
Again, Bohemian Rhapsody was the expected winner here and didn’t disappoint. I was happy with the win considering how they utilised mixing the Rami Malek’s vocals with Freddie’s so it wasn’t simply a case of Malek lip syncing his way through the film. It helped enhance Malek’s amazing performance and I think the win in this category was thoroughly deserved.

Best Editing
A lot of wins for Bohemian Rhapsody in the categories in this blog and this is the one of the film’s wins that I strongly disagreed with personally. I think that my main problem with the film as a whole was its editing. There were scenes that consisted of numerous cuts that made the film jittery. The film on the whole doesn’t flow well because it is badly paced and the editing is one of the main contributors to this problem. I thought that Hank Corwin should have won this category for his brilliant editing in Vice. It was innovative and unexpected, keeping the audience in a state of discomfort as we didn’t know what would happen next. The editing in Vice reflected the erratic nature of its subject and I think it conveys this fantastically.

Best Cinematography
Without a shadow of a doubt, this was Alfonso Cuaron’s for the taking and he won it completely deservedly for Roma. He manages to convey the problems of a Mexican classist society by keeping the focus solely on protagonist Cleo. Cleo becomes an embodiment of the working class female and the struggles of living a life that seems to be against her. Her story is told in black and white but the film is anything but. It teeters on a spectrum of emotions as we see Cleo in her darkest moments as well as her happier times as she navigates a pregnancy. Cleo’s friendship with her employer is beautifully conveyed as well as the two women bond over their mutual struggles.

That’s it for my Oscars roundup! What did you think of this year’s ceremony? Leave your comments below!