Classics: A Review of Muppets Most Wanted By Lauren Ennis

Since they first appeared on the silver screen in their 1979 debut in The Muppet Movie, Jim Henson's lovable puppets have gone on to become a film institution. Since that first film, each subsequent decade and several generations of moviegoers have been given their own Muppet film that speaks to the trends and issues of changing times. While every fan has certain gags, songs, and lines from the franchise that they treasure, this week I'll be focusing upon the latest entry in the franchise; 2014's Muppets Most Wanted.

A striking resemblance!

The film begins moments after its predecessor The Muppets, left off as the gang try to determine what to do now that they've made a successful comeback. After a snappy start with the first of the film's numerous musical numbers the plot thickens with the entrance of smarmy theater agent Dominic Badguy (pronounced bad-gee and played by Ricky Gervais) who convinces the Muppets to take their act on a tour of Europe. Despite his initial misgivings, the gang is eventually able to convince Kermit to sign them up for the tour and almost immediately begin in-fighting over changes in the act. Kermit tries to mediate between the group but his efforts to placate his cast mates results in a disastrous opening in Germany that still strangely receives rave reviews from local critics. Despondent over his inability to manage the cast, Kermit goes for a walk to take in the local sights and clear his mind only to find himself jumped by a lookalike frog and arrested by local authorities who believe that Kermit is the other frog, a notorious criminal mastermind known as Constantine. Following the arrest, Kermit is sent to a Russian gulag in Constantine's place while the real Constantine goes on to assume Kermit's identity. It is soon revealed that Dominic is actually an underling to Constantine and that the European tour was merely a set-up for Kermit to take the fall for the pair's crimes and ensure that Constantine regained his freedom. Meanwhile, Kermit struggles to adjust to prison life as Constantine ingratiates himself within the lives of the other Muppets and enjoys his new celebrity status. Eventually the two frogs' paths cross again when Kermit stages an escape worthy of cinema's classic capers and the Muppets begin to suspect something is amiss with 'Kermit'.

The unlikeliest partnership since Sidney Poitier and Rod Steiger

While there have been numerous entries in the Muppets franchise over the last three decades, Muppets Most Wanted is perhaps the film that is the most true to the winning combination of offbeat humor and clever commentary that made up the spirit of the original films. Throughout the film, the setting and plot sends up classic caper and crime films of the Cold War era without ever dismissing the merits of those earlier films. The references to East and West Berlin, Russian gulags, and Eastern European masterminds puts the film perfectly in line with the likes of such genre classics as the James Bond franchise and The Manchurian Candidate. Similarly, the case of mistaken identity and use of prison escapes and plans for world domination make the plot a kid-friendly companion to classic suspense films, particularly the works of Alfred Hitchcock and heist films such as The Thomas Crown Affair. The film even goes so far as to mimic the fashions and political tensions of the era with Eastern Europe shown in muted colors and poverty reminiscent of the Soviet years, and plays up the comedic effect of a heated rivalry between the representatives sent by Interpol (Ty Burrell) and the FBI (Sam the Eagle).

Although the film's makers may have simply chosen this retro effect in order to highlight the vintage feel of its caper plot, I believe that they did so in an effort to make the film a throwback to both the original Muppet films and the era in which they were made. The first three films in the franchise, The Muppet Movie, The Great Muppet Caper, and The Muppets Take Manhattan were all shot and released during the 1970's and 1980's; an era in which the headlines were dominated by the threat of a conflict between the Soviet Union and the western world. These films also in many ways echoed the films of Hollywood's Golden Era through the use of vintage plot devices, 30's and 40's slang, and costumes befitting those eras. By producing this most recent film as a throwback to a more recent but still bygone era, the Muppet franchise has truly returned to form by carrying on its tradition of classic comedy for fans of all decades.

Muppets Most Wanted is an excellent film for fans of the franchise looking for a bit of nostalgia and those who have yet to be introduced to Jim Henson's troupe of puppets. The equal parts witty and thrilling script ensures that the film will entertain kids looking for a fun adventure and adults looking for classic comedy, making this a film that truly is for the whole family. The film also possesses an added bonus for adults and classic film fans through its function as a loving send-up of both Cold War era cinema and the original Muppet films. Muppets Most Wanted is a return to form for the precocious puppets that will be sure to please lovers, dreamers, and maybe even you.

The Muppets spreading their natural star quality

A Retrospect on "Lo"

Confessions of a Film Junkie: A Retrospect on “Lo”

By: Brian Cotnoir

     Wow, can you believe that I’ve been at this blog for 4 years now!  To celebrate this impressive accomplishment, I have decided to do a Retrospect on the first film I ever reviewed for Confessions of a Film Junkie: the 2009 Horror-Comedy, “Lo”.

My First Impression of the Film

I was very critical of “Lo” the first time I saw it. I thought it was going to be a Horror film, but it ended up playing out more like a stage play that got poorly adapted to the screen. I claimed it was random and confusing and I had no idea what was going on.  The only character I only liked in the film was the demon Geez. To be perfectly honest, I have no idea why I was harsh with this film.  I think maybe, I was so hard on it because I was trying to play myself off as a cool hates everything film critic.  That’s the only logical reason I could come up with. 

My Second Impression of the Film

     Holy shnikes; this movie is awesome!  I mean it has a little bit of everything.  It has laughs, scares, romance; it has a little bit of everything.  I found every character to be smart, interesting, and very comical.  The acting is all wonderful, and you can tell each actor had a fun time while on screen. The story made more sense the second time around and it was even funnier then I remember.

You're So Much Fun, Lo!

What I’d do to Make the Film Better

The only thing I can think of that needed improvements were cutaway scenes were Lo shows Justin his past where it looks like a stage play.  I think those scenes could’ve been done a little better, and that’s really my only complaint.

My Final Opinion on the Film

“Lo” is a Fantastic film.  Not only that, but it is a strange and unique film that I think everyone can’t help, but enjoy.  I think “Lo” is one of those films that you just have to say to people, “Go see this film, you’re just not going to believe how weird and different it is”.  If you haven’t seen it yet, do yourself a favor and go find a copy on-line to watch somewhere, because you can’t go any further in your life without seeing the film “Lo”.

Confessions of a Film Junkie: A review of "Lo"

Classics: A Review of Holiday Affair By Lauren Ennis

The holidays are a time in which we gather with loved ones to celebrate and give thanks for the blessings in our lives. For many, however, the holidays can serve as a painful reminder of those who can no longer be with us and the moments that can no longer be shared with them. This is also an excellent time of year, however, to make new memories with those who are still part of our lives and those who have only just become part of our world. One film demonstrates the simultaneous sense of nostalgia and hope for a fresh start that the holidays can inspire; the 1949 romantic comedy Holiday Affair.

Nothing says I love you like costing someone their job

The story begins with war widow Connie Ennis (Janet Leigh) working as a department store comparison shopper to support her young son, Timmy (Gordon Gebert). As she nears the end of her daily rounds through rival stores, Connie hurriedly purchases an electric train set without asking a single question about the expensive item, prompting clerk Steve Mason (Robert Mitchum) to suspect an ulterior motive for her purchase. When Connie returns the following day to return the train and makes a similarly suspect purchase, Steve approaches her and threatens to expose her as a comparison shopper, which would ultimately result in her being fired. Desperate, she explains her financial situation, and when Steve learns of her efforts to raise Timmy alone after her husband’s death he finds that he doesn’t have the heart to report her after all. While it saves Connie’s job, Steve’s deed unfortunately also results in the loss of his own job. When she learns of his predicament she offers to take him out for lunch as an apology, but the two are separated by the shopping crowd as they leave the store. Determined to continue their acquaintance, he tracks her down to her home only to find that she’s entertaining her boyfriend, staid lawyer Carl (Wendell Corey). After his first visit Steve learns that Connie has been seeing Carl for a while (despite Timmy’s disapproval) but sees him more as a friend and confidante than a boyfriend as she continues to pine for her dead husband. As her acquaintance with Steve develops into a friendship, Connie finds herself in a love quadrangle as she attempts to fend off Carl’s demands for a serious relationship, struggles to make sense of her growing feelings for Steve, and begins to come to terms with the loss of her husband. Romantic and comic dilemmas ensue as a bit of holiday magic descends upon the Ennis household just in time for Connie to realize what’s been missing from both her life and Timmy’s.

The lady and the many men in her life

While the plot is typical romantic comedy fare, the writers approach the subject matter with a simplicity and subtlety that gives the story emotional weight and poignancy.  Rather than limit its character to types as many rom-coms and holiday films are apt to do, Holiday Affair instead delves into the real emotions both hopeful and regretful that motivate its characters. Although it would have been easier for the writers to reduce Connie to a cynical stereotype, the film reveals her to be a complex woman who still harbors longings and hopes but is careful to keep those feelings strongly guarded. Similarly, Steve is revealed to have his own demons to wrestle with after serving in World War II and drifting from job to job after giving up his dream of designing boats. Timmy also proves to be a surprisingly well written character who infuses the story with innocence without reducing the script to mere sentimentality. Even Carl, who at first appears to be a portrait of an overcompensating suitor demonstrates complexity in his simultaneous patience with Connie’s reluctance and irritation with Timmy’s rejection as he continues to hold out hope for a relationship that was over before it began. All of the film’s players turn in excellent performances and bring their characters to three-dimensional life with an emotional depth that makes the otherwise predictable plot worth watching. While it could have easily limited the scope of its tale to romantic hijinks and seasonal sentiment, Holiday Affair avoids the trappings typical to its genres and instead tells a multifaceted tale of average people struggling to come to terms with life’s difficulties and finding solace in their connections with those around them.

Holiday Affair is a holiday tale that is equal parts reflective and whimsical. The film’s simple message of hope is one that remains relevant over sixty years later and continues to resonate throughout the year. Through its emphasis upon genuine emotion and relatable situations, the film is able to serve as entertainment for children and adults alike and reminds us all of the promise of the season. For a holiday film that will truly please the whole family, look no further than Holiday Affair. Tell me some of your favorite holiday films in the comments!

Who needs  step ladder when you've got  Robert Mitchum?

A review of "Haunt"

Confessions of a Film Junkie: A review of “Haunt”

By: Brian Cotnoir

     Wow, do I have a great film to talk about today.  It’s amazing how some films that don’t get a theatrical release can gain a huge following after it is released on DVD.  Well I’m here to tell you why I think that “Haunt” is going to be one of those surprise sleeper films that is I think is sure to gain notoriety and popularity on the straight-to-video/DVD circuit.      

Now from the outside “Haunt” looks like a basic Haunted House Horror movie.  Early on in the film you can tell that they drew inspirations from other more successful films like “Insidious”, “The Others”, “Oculus”, “Psycho”, “The Conjuring”, and “Don’t Be Afraid of the Dark”. It’s the story about a family named the Asher’s who move into the old Morello House, where it is rumored that some sinister spirits took the lives of the previous owners three children.  The Asher’s eldest son, Evan, ends up befriending the girl-next-door, Sam, and the two of them really hit it off.  I’m not kidding, he just finds her crying in the woods one night, he says some comforting words to her, and then the next thing he knows she’s broken into the house and has decided to spend the night in his bed...Is this how the films screenwriter thinks teen romance happens? Because it’s more creepy than it is cute.  And the only thing creepier than that is how cool his parents are that there teenage son just had some strange mysterious girl spend the night with him in his bed!  I know, I were ever caught in that situation my parents would’ve chewed me out and grounded me forever, but they’re like “Meh, whatever, it’s cool.  Welcome to our family”. One night Sam and Evan find an old mysterious box that she claimed Mr. Morello once used to try to communicate with his dead children.  To them it seemed like a fun little idea, but will them using the box/machine upset or awaken angry spirits.                     

I can't tell if we're supposed to think this is
charming or very unsettling.

    So yeah, it’s a pretty unoriginal Haunted House story idea that has been done time and time again, but yet there were still a couple of things I really enjoyed about it.  I really enjoyed the two main characters Evan and Sam.  Even though their characters are written as stereotypical teenagers the still had some personality brought to them by the wonderful acting of Harrison Gilbertson and Liana Liberato.  Gilbertson somehow brings a little bit of personality to the stereotypical “Good looking nice guy, who just wants to be loved by the emotionally damaged girl”.  Again, not an originally written character, but Gilbertson still gave a decent performance.  Liana Liberato, in the role of Sam, was great in this film.  I’ve seen her in a few small television and in the film “Trust”, and let me just say I think she is a great actress: though I must say, I find it a little strange that she plays a rape/abuse victim in a lot of her works (I had no idea you could get type-casted into that kind of role).  I really hope to see Liana Liberato in more mainstream film roles in the future, because she really is a talented actress.  

Something, sinister comes this way!

Now the other part I liked in this film was the CGI effects.  This film once it reaches its climax is filled with creepy and frightening images.  For a film that has an unoriginal story the images in “Haunt” made me jump time after time again.  I know there was at least one time while I was watching this on my laptop—in the dark—that I exclaimed in terror “What the hell is that?!”.  It’s not an easy thing to do, I think I can count the number of times I’ve been actually truly frightened by a Horror film on one-hand, that’s how rare of an occurrence it is.  If you see “Haunt” for just one reason and one reason alone, I would say you should check it out just to see the freaky and terrifying CG creations.  I may be a little bit bias towards this film, because it took a lot of elements from some of my favorite Horror Films, but that is my opinion and I am standing by it.

Classics: Three Sequels That Arguably Outdo the Original By Lauren Ennis

Sequels are often maligned for their inability to live up to the promise of their predecessors. Cinema buffs have spent decades bemoaning the lack of originality and cheapening of original films that sequels are notorious for. While many sequels fit the stereotype of the ‘sloppy sequel’, this week’s review will instead focus upon the films that have managed to overcome the sequel stigma and become classics in their own right. Please fill us in on your own favorite sequels in the comments section!

And you thought your family had issues

1.      THE EMPIRE STRIKES BACK: While the first entry in the Star Wars saga, A New Hope, certainly earned its classic status, its innovation and drama was still outdone by that of its sequel The Empire Strikes Back. Although Empire is best known for a certain revelation about the franchise’s villain, the film has much more to recommend a viewing. First, Empire delves into the backstories and personalities of its characters in far more depth than A New Hope could. As a result, Empire’s central revelation and bittersweet finale have far more resonance for audiences because they have become more connected to invested in the fates of the central characters. Empire also successfully juggles several different narratives by separating Luke, Han and Leia, and Darth Vader from each other in order to place each of these characters into their own individual quests. While this separation had the potential to backfire as confusing and jumbled, it instead forces each character to grow and develop as they each face their own forms of adversity to be overcome. Similarly, while A New Hope focused upon Luke’s heroic journey, Empire encompasses multiple genres in its exploration of Luke’s coming of age in jedi training and Han and Leia’s tempestuous romance against the backdrop of the overarching tale of the Rebel’s efforts to overthrow the Galactic Empire. The film also successfully balances its efforts to transport viewers to another universe without resorting to the camp of Return of the Jedi or the franchise’s much maligned prequels. For its adult take on science fiction, The Empire Strikes Back stands out as a stellar sequel.

 

Is it me or is that kid so familiar?

2.      HOME ALONE II: Today, Home Alone has become an alternative go-to film during the holiday season. While the original film’s seasonal shenanigans remain quality entertainment, the sequel creates an emotionally deeper tale that adds poignancy without sacrificing the fun of the original. The sequel picks up one year after the events of the original with Kevin lamenting his family’s teasing and nagging as Christmas draws near once again. In a bit of cinematic déjà vu, Kevin is left behind on family vacation again after an airport mishap. When he initially arrives in New York and realizes that his family has arrived at their scheduled Florida destination, Kevin resumes his comical attempts at playing at adulthood that proliferated the first film. Midway through the film, however, Kevin is reunited with his former foes, thieves Harry and Marv. This tie in to the original easily could have become tiresome, but the film’s writers instead use this familiar territory to reveal the ways in which Kevin has grown since the first film. In the original, Kevin learns to appreciate his family after spending the holidays without them. While the first film’s lesson is indeed valid, it only comes about after Kevin realizes how the absence of his family directly impacts him. In the sequel, Kevin is forced to look beyond himself through his interactions with a kind, but lonely, homeless woman and a charitable toy-store owner. In the sequel, he not only remembers the importance of his family, but also learns the importance of self-sacrifice and compassion and does the original one better by actually putting his lessons into action. Through its more active use of Kevin’s lessons the film serves as a morality tale at its heart despite its promotion as light children’s fare. For character growth befitting maturing audiences, Home Alone II is a holiday film that truly is for the whole family.

 

A sequel you cannot refuse

3.      THE GODFATHER PART II: The Godfather Part II is unique in its ability to be viewed as a stand-alone film despite its status as a sequel. The film begins not where its predecessor left off, but instead several decades earlier in a flashback to the events that led a young Vito Corleone to arrive in the United States. The film continues to flash-back to Vito’s rise to power between scenes chronicling his son, Michael’s impending fall from grace. Through its juxtaposition of its two storylines the film provides insight into the backstories of its central characters while simultaneously telling the story of what became of the Corleone empire following the events of The Godfather. The film’s unconventional structure lends it an epic scope and offers commentary on the state of traditions, values, and the American Dream in an ever changing society. The dual stories also lends a sense of tragedy to the film’s proceedings as the audience bears witness to Don Corleone’s efforts to build a better life for both his family and neighborhood only to see that better life destroyed under Michael’s reign. Beyond its innovative structure, the film also manages to tell two very different stories that each serve to inform and entertain audiences without overshadowing each other. The film also succeeds in its inclusion of memorable lines and scenes that rival those of its predecessor.  Through its ability to relate a cohesive epic through two distinct stories, The Godfather Part II possesses the originality and gravity to make it more than just another mob film and elevate it to a level of classic that makes it synonymous with excellent film making.

Classics: A Review of From Here To Eternity By Lauren Ennis

On the morning of Sunday, December 7, 1941 Japan attacked the US naval base at Pearl Harbor, Hawaii. The attack resulted in the deaths of 2,403 Americans, left another 1,178 Americans wounded, and launched the United States' involvement in World War II. The attack proved to be a truly sobering moment for the largely isolationist US, and forced the nation to take a stand against the fascist powers whose influence had already been spreading across the globe for several years. While numerous films have chronicled the harrowing events and heroic actions of that fateful day, few have done so with the depth and humanity of the 1953 Oscar winning hit From Here to Eternity.

The Oscar winning role that got Sinatra a nod in The Godfather

The story begins with the arrival of rebellious private Robert 'Prew' Prewitt (Montgomery Clift) at a rifle company at Schoefield Barracks on the island of Oahu. Almost as soon as he unpacks, Prewitt is approached by Captain Holmes (Phillip Ober) to join the company's boxing team. Despite his talent and reputation as a successful middleweight boxer, Prew adamantly refuses to box after previously blinding a friend while sparring. Infuriated at being refused his own way, Holmes begins a campaign against Prew, and with the help of several officers harasses Prew to the verge of a mental and physical breakdown in hopes of torturing him into agreeing to box. Fortunately, Prew is aided by his brash but loyal friend, Angelo Maggio (Frank Sinatra), and the hidden efforts of First Sergeant Milton Warden (Burt Lancaster), who is glad at any chance to foil Holmes' plans. Meanwhile, Prew begins a romance with social-climbing call-girl 'Lorene' Alma Burke (Donna Reed) as Warden begins an affair with Holmes' promiscuous wife, Karen (Deborah Kerr). Eventually the clashes between Prew and Maggio and military command reach a heated climax just as war comes to Hawaii.

While numerous films have featured World War II (and specifically the attack on Pearl Harbor) in their plots, few films were able to do so on such a poignant level. The characters in From Here To Eternity, while engaging and mostly likable, are far from ideal. Between Warden and Karen's adulterous affair, Alma's dubious profession, Angelo's alcoholism, and Prew's troubled past, the film is populated with people who hardly fit the standard view of heroism, but still manage to act with courage and dignity when faced with national tragedy. Throughout its running time, the film displays its characters in an honest light that allows them to be true to life while remaining in context of the greater history surrounding them. It is this sober look at the lives of those affected by the attack on Pearl Harbor that provides the story with its true resonance through its portrayal of the attack's devastating affects on people whom viewers will inevitably see themselves in. As a result, the film allows viewers a glimpse into the daily lives of the ordinary Americans who lived, loved, and lost in the days leading up to that fateful morning in December, 1941.

What happens in Hawaii stays in Hawaii

The film's sharply written script is brought to life by a truly stellar cast. Montgomery Clift's understated performance as Prew reveals his character's basic decency while still hinting at the painful past behind his quiet demeanor, and makes the humble soldier an everyman viewers will be glad to root for. Burt Lancaster nearly steals the film from Clift in his portrayal of the morally ambiguous Warden, which ensures that the sergeant is fascinating and believable even as his motives remain murky. The otherwise understated proceedings are enlivened by Frank Sinatra's explosive performance as the equal parts comic and tragic Maggio. Rounding out the cast are Donna Reed and Deborah Kerr as two women who have turned their backs on conventional mores after learning the hard way that good girls don't always finish first. The performances of its two leading ladies provides an honest observation of the ways in which the social and economic double standards of the era forced some women to the margins of the very society that they had struggled to fit into.

President Roosevelt was right when he said that December 7, 1941 was a day that would live in infamy. As the decades continue to pass the memories of that tragic date will continue to live on in our nation's consciousness. Through works such as this film, the tragedy and heroism at Pearl Harbor will continue to be understood and appreciated by future generations as more than just historical dates and facts. Through its expert writing, acting, and emotional impact, From Here To Eternity is a true cinema classic and will remain such from now until eternity.

The kiss that heated up screens around the world

Classics: Stockings Full of Coal: Three Holiday Films With Disturbing Connotations By Lauren Ennis

1.   HOME ALONE: Just the premise of Home Alone is enough to warrant a DCF investigation of the McAllister home. The film begins with bullied youngest child Kevin lamenting the lack of attention he receives from his family during the holiday rush as his household is bombarded with a virtual Noah’s Ark of aunts, uncles, and cousins. When the whole McAllister clan leaves to spend Christmas in France they pack all of their necessities, with one exception; Kevin. The film then chronicles the precocious eight-year-old’s efforts to fend for himself while outsmarting a pair of bumbling burglars who see his empty house as a perfect opportunity to swipe some stocking stuffers for themselves. While the film maintains a light atmosphere throughout, the fact remains that the springboard from which Kevin’s adventures are launched is his family’s neglect. The film attempts to explain the McAllister’s actions through stress induced forgetfulness, but their lack of action or concern once they realize that Kevin is missing indicates otherwise. When explaining their situation to police and airport security, Kevin’s parents repeatedly try to laugh off the very real danger that their son is in. This lack of an emotional response suggests that the McAllister’s are not the lovably daffy family that the film otherwise presents them as and that their wacky memory lapse is instead one piece of a larger pattern of child neglect. If such bizarre reactions are not jarring enough, the bored responses that their explanations receive from authorities are nothing short of shocking. The film does present Mrs. McAllister as more sympathetic after she embarks on a cross country journey to return home on the tour bus of a quirky polka band, but the obvious question remains; where do the McAllister’s priorities lie? Instead of returning home to reunite as a family, Mr. McAllister and the rest of Kevin’s relatives remain in France and continue to enjoy their vacation regardless of Kevin or Mrs. McAllister’s whereabouts. Even though the film cites holiday airport traffic as the reason that the family can’t return home together, what reasonable family would give up that easily when one of their own, especially a young child, has been left behind? All of this could be dismissed as a disconcerting one time fluke except for the fact that the film’s sequel features Kevin being left behind on family vacation again, just one year later.

 

If only all home invaders were this delightfully zany

2.     IT’S A WONDERFUL LIFE: While this film was featured as part of last year’s joint holiday review, I thought there was still enough of a dark side in this holiday staple to warrant a second mention. The film begins with self-sacrificing George Bailey contemplating suicide after his uncle’s incompetence threatens to have him imprisoned for embezzling from the bank that he has strove his entire life to salvage. The film then launches into a flashback as George’s guardian angel, Clarence, tries to understand what happened to lead George to his depressive state. As the flashback unfolds, Clarence (and the audience) learns of the struggles that George has faced throughout his life and the ways in which he continually sacrificed his own happiness for the sake of others. Although George’s actions are admirable, the film reveals how his good intentions forced him to put his own plans on hold until he was finally trapped into the mundane sort of life that he had swore he would never live. Fortunately, George is able to gain perspective upon the good things in his life by the film’s finish, but that perspective still can’t bring back the years that he sacrificed in service to the Bailey Building and Loan in place of pursuing his own dreams. While George’s struggles are true to the gritty reality of life during the Great Depression, the film’s final act leaves a key issue unaddressed; the fate of Mr. Potter.  At the film’s conclusion, George runs by the wicked magnate’s office shouting “Merry Christmas” only to be met with a sneer and snide remark, and that is the last the audience sees of Mr. Potter. Throughout the entirety of the film’s lengthy running time Mr. Potter is portrayed as the most hated and feared man in Bedford Falls and the single greatest obstacle standing in the way of George’s success. Despite his role as the central villain in the film, however, Mr. Potter suffers no consequences for his behavior and none of the other characters ever learns of the way that Mr. Potter used George’s misfortune to frame him. As a result, Mr. Potter maintains his position and is free to torment the residents of Bedford Falls once again. Wonderful as it may be, It’s a Wonderful Life is a strikingly sober look at the reality of life during difficult times and the eternal struggle between the haves and have nots.

 

Give him a break, who hasn't had a little too much egg nog some time?

3.     MIRACLE ON 34^TH STREET: On its surface, Miracle on 34^th Street is a heartwarming tale of the power of believing, but beneath its sentimental surface lies a surprisingly sinister plot. The film begins with jaded divorcee Doris Walker firing the Macy’s Day Parade Santa for coming to work drunk. The intoxicated employee is conveniently replaced with the far more convincing Kris Kringle, who is then promoted as Macy’s Department Store’s Santa for the remainder of the season. Throughout his employment, Kringle is nothing less than delightful as he entertains the store’s customers and teaches Doris’ mature daughter the joy of being a kid. Cynical Doris, however, decides that the old man is taking the Santa act too far and tries to fire him for being ‘delusional’, for fear that he is unstable and a company liability. After a misunderstanding during his appointment with the store’s on-staff psychiatrist (didn’t all 40’s businesses have those?), Kris is committed to Bellevue Hospital’s psychiatric ward. Doris’ neighbor, lawyer Fred Gaily, then takes it upon himself to defend Kris at a sanity hearing by proving that Kris is not delusional, but is in fact the real Santa Claus. Like Home Alone, the entirety of the film’s action hinges upon the main character suffering abuse by those around them as Kris is maligned for trying to make the world a better place. Like Wonderful Life, the film’s villain also faces only minimal consequences as Macy’s psychiatrist, Doctor Sawyer, is fired for bringing the store negative publicity, but continues to retain his psychiatric license despite misdiagnosing Kris and another employee. Although Kris does finally win his freedom, the court’s decision is revealed to be motivated by politics rather than justice, which unfortunately is how many cases are decided in real life. Between its depiction of broken homes and a strait-jacketed Santa Claus, Miracle on 34^th Street contains a gripping look at the ways that good intentions and kind actions can haunt us later on.

So he's not stable enough for your store but he's stable enough to babysit your daughter?!

A review of "Beneath"

Confessions of a Film Junkie: A review of “Beneath”

By: Brian Cotnoir

If you asked any person to list what they think is the most terrifying way to die, I think pretty much everyone would list “being buried alive” somewhere in the Top 5.  It is a fear that has plagued humanity since they first started burying bodies.  This fear was so real to some people that many years ago they used to bury people with an air hole vent that led from the casket in the ground to the surface so they could call for help if they had accidentally been buried alive.  Now can you imagine working a job, where you run the risk of being buried alive, every day???  Well, that is a reality that all people who work in the field of coal mining face every day.  In that is the setting for the film I’m reviewing this week, “Beneath”.            

“Beneath” is the story of a young Environmental Lawyer returning to the coal mining where she grew up to talk her father into retiring from the mines.  Her father is reluctant to give up his livelihood and invites his daughter down into the mines to show her that it is safe and that there’s nothing wrong with what he does for a living.  Shortly after they arrive 600 feet underground there is a collapse in the mine.  The miners that survive reach the Rescue chamber and that it will take 72 hours before a rescue squad can reach them.  All seems to be going fine at first, but then some strange things begin to happen.  The Rescue Chambers oxygen tanks are broken off and two of the trapped miners go missing.  The group tries to find the missing miners and uncovers an old mine shaft from the 1920’s.  Legend has it that a group of miners were trapped down there years ago, and they were never rescued.  Some begin to speculate that it may be the angry spirits of the trapped miners, while others believe that the two missing miners have gone crazy from their near death experience, and our protagonists life & death situation has just become a lot grimmer.         

    So yeah, this films pretty similar to “As Above, So Below”: it takes almost entirely underground, and we’re just as confused as to what is going on as the characters in the film.  All of the fun in the film is trying to figure out what’s going on, but other than that this film has very little to offer.  There aren’t any real scares or thrills, the acting is definitely over the top and hammy.  Other than a few good scenes of suspense, I can’t really think of anything else positive to say about this one.  I will recommend that you check out “Beneath” if you enjoyed “As Above, So Below”, but if you didn’t then I think you’ll be okay if you skip this one.

Classics: A Review of The Prestige By Lauren Ennis

The greatest stories are those that enlighten readers and viewers as to some truth of the human condition. Some of these compelling stories relate the positive side of humanity through tales of love, sacrifice, resilience, and redemption while others relate the darker aspects of the human psyche. One of those darker takes on human nature is a tale of vengeance, ambition, and obsession; the 2006 suspense thriller The Prestige. Through it use of twists and illusions, The Prestige reveals the dark truth about the consuming effect that ambition can have on all of us if taken to an obsessive end.

Proving that men can be frenemies too

The film begins as stage hands and amateur magicians Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) work for Milton the Magician alongside their mentor, John Cutter (Michael Caine) and Robert’s wife, Julia (Piper Perabo). The foursome work well together until tragedy strikes and Julia drowns onstage during a water tank trick. Grief stricken, Robert blames Alfred for tying the knots on Julia’s wrists too tight, even though Julia had specifically asked Alfred to tighten them in order to make the trick more challenging. Robert and Alfred then go their separate ways and each pursues a career headlining their own magic act, with Robert becoming a master showman and Alfred remaining in obscurity despite his superior tricks. Despite his greater success, however, Robert remains bent on destroying what little remains of Alfred’s career, as a supposed show of loyalty to his deceased wife. When Alfred debuts a new trick that even the knowledgeable Cutter can’t explain, Robert becomes obsessed with finding the secret of how the trick is performed. Possessed by his fixation, Robert embarks upon a journey across continents and risks his new found fortune, fame, budding relationship with his assistant (Scarlett Johansson), and his very life to discover the secret of Alfred’s ‘Transported Man’.

In the film’s opening scene, Cutter explains that a trick is divided into three steps; the pledge, in which an ordinary object is presented; the turn, in which that object is turned into something extraordinary; and finally the prestige in which the object is returned to its natural state. In its structure, The Prestige functions in the same manner as the magic tricks that it details. It first begins with a cinematic version of ‘the pledge’ with a seemingly mundane scenario involving the working lives of Victorian era magicians. As the plot thickens, however, the film moves into its second stage in its variation of ‘the turn’, in which Robert and Alfred play an increasingly dangerous game of professional one-upmanship that culminates in the question of the Transported Man. The film concludes with an Agatha Christie style reveal that viewers will be hard pressed to guess at in a dramatic ‘prestige'.

Watch closely as I sell my lovely assistant to the highest bidder

While The Prestige, like many films of its genre, is best remembered for the shock of its final act, it is its rising action, or ‘turn’ that truly sets it apart. In this section, the audience witnesses the ways in which the two rivals allow themselves to become consumed by their shared craft. Rather than enjoy his success, Robert continues to torment himself and those around him by remaining fixated on Alfred’s trick. Similarly, Alfred is unable to devote himself to his family because his work remains his first and foremost priority. Over the course of the film, both men sacrifice the women that they love as Robert instructs his love interest and assistant, Olivia, to seduce Alfred in hopes of gaining access to his secrets and Alfred remains emotionally detached from both Olivia and his dedicated wife, Sarah (Rebecca Hall). Both men also lose their relationships with their closest friends as Robert’s actions eventually alienate him from Cutter and Alfred’s isolate him from his stage engineer, the mysterious Bernard Fallon. The truly disturbing aspect of this section of the film is the way that the characters are just as aware of the downward spiral that they are engaged in as the audience, and yet remain powerless to stop their insatiable ambitions. While it could be argued that the extent of the leads obsessions are exaggerated for thematic purposes, there are numerous examples throughout history and in the present day that indicate otherwise. Passion can be a beautiful thing that drives us to go beyond our limits to pursue the things we want most, but as The Prestige aptly illustrates, the divider between passion and obsession is often a fine and blurry line.

The film is also notable for its blending of history and fiction to tell a story that is both believable and original. In reality, magicians in the Victorian era utilized tricks that were similar to those seen in the film and were known to maintain absolute discipline in order to retain the illusion of those tricks. The sabotaging of rival acts was also a common occurrence, with magicians regularly revealing each other’s secrets and disrupting rival performances. Perhaps the most striking historical tie in is the film’s use of real-life inventor Nikola Tesla (David Bowie) as a character who plays a crucial role in Robert’s finally out-smarting Alfred. While Tesla did not create the device shown in the film, he did discover alternating current and his designs fueled the invention of the radio and modern wireless technology. He was also an enigmatic figure equally renowned for his eccentricities and scientific innovations. By using the realities of the dawn of modern entertainment and technology in the Victorian era as a springboard for it fantastic plot, the film successfully keeps the story grounded and ensures that viewers never see through its many illusions.

Through its combination of superb performances from its star-studded cast, innovate script, and dazzling effects, The Prestige is nothing short of spellbinding. While on one level a tale of incredible feats, the film at its heart remains a truly human tale of the consuming power of ambition. As a result, despite the historical setting and use of speculative science fiction, the characters and motives remain truly timeless. Regardless of its many twists and turns there is one aspect of The Prestige that is definitely not an illusion; its well earned status as a modern classic.

No one knows showmanship like Tesla...except maybe David Bowie

Classics: A Review of Double Indemnity By Lauren Ennis

Film noir is a genre that is characterized by cynicism, duplicity, and above all moral ambiguity. The genre began as an American post World War II variation on early European expressionist films, which in turn came about as a response to the horrors of World War I. Since its hey-day in the 1940’s and 1950’s film noir has continued to remain a cultural presence, providing influence for modern films, novels, and stage plays. While there are numerous films in the genre worthy of the title ‘classic’, few possess the style, sex appeal, and anarchic spirit of this week’s review, Double Indemnity.

Never trust a dame with an anklet no matter what's inscribed on it

The story begins with insurance salesman Walter Neff (Fred MacMurray) staggering into his office just after dawn. As Walter takes his place at his desk it becomes evident that he has sustained a serious injury from a gun-shot wound. Rather than call for the police or an ambulance, however, he instead proceeds to calmly begin speaking into his office Dictaphone and confesses to murdering one of his company’s clients. He reports that he killed “for money, and for a woman” and further explains that “I didn’t get the money and I didn’t get the woman”. The film then launches into a flashback that relates the events leading up the murder Walter confessed to and the fallout that has brought Walter himself to death’s doorstep. Through the flashback, it is revealed that several months earlier he became acquainted with sultry housewife Phyllis Dietrichson (Barbara Stanwyck). While Phyllis has little interest in insurance, she displays an immediate interest in the fast-talking insurance salesman, and insists that he return for a second visit when her husband will be home. When Walter returns to the residence Mr. Dietrichson is still at work, and Phyllis proceeds to grill him with a slew of questions concerning accident insurance. Walter quickly put Phyllis’ questions and seductive charm together and realizes that she intends to kill her husband in an effort to collect on his insurance policy. Disturbed by the incident, Walter storms out of the house with the intention of avoiding Phyllis, only to have her arrive at his apartment late that night. Despite his best intentions, he is unable to resist her and finds himself not only aiding, but planning a plot to murder Mr. Dietrichson (Tom Powers) and run away with Phyllis and the insurance money. All seems to go according to plan until Walter’s firm investigates Dietrichson’s death as a possible suicide and Walter’s boss, Barton Keys (Edward G. Robinson), starts to suspect foul play. The pressure from Keys adds to the distrust that has seeped into Walter and Phyllis’ relationship as the two begin a downward spiral of self-destruction that, as Keys points out, can only end one place; the cemetery.

Although Double Indemnity contains the standard elements of film noir, what sets the film apart is the way that it brings those elements together to tell a story that set the tone for those that followed it. One of those elements is the film’s brazen portrayal of  a story that is sordid at worst and subversive at its height. Hollywood had produced numerous films with dark themes and moral ambiguities in the pre-code thirties, but even those early efforts lacked the single-minded ruthlessness that makes Double Indemnity unforgettable. While most movies strive to make their heroes relateable and redeemable, this film stands apart in the way that it not only chronicles, but basks in the nihilism and sleaze that compose Walter and Phyllis. Although both leads are engaging and complex, the script makes no effort to rationalize or gloss over their actions, instead treating their amorality as just one more drop of water in the polluted bucket that is depression-era Los Angeles. Nonchalant treatment of homicidal protagonists would be unsettling enough, but with each scintillating interaction between its leads the film continues to take its approach one disturbing step further until it, and the audience, are left rooting for Phyllis and Walter’s plan to succeed.

How many times do I have to tell you; plan murder on your own time!

In addition to the film’s expertly conveyed cynicism and innovative approach to its characters, Double Indemnity contains some of the best dialogue, not just in noir, but in the history of American cinema. With Walter’s first mention of killing “for money and for a woman” the audience is immediately drawn into the film’s world of sex, murder, and intrigue. Each interaction between Phyllis and Walter contains wit so sharp it could cut through the screen and smolders with steamy innuendo. All a viewer needs to do is watch one scene between MacMurray and Stanwyck to understand just how much the tumultuous working relationship between screenwriters Billy Wilder and Raymond Chandler truly paid off. The equal parts cleverness and grittiness of these scenes serve to develop character, propel the plot, and create a truly memorable atmosphere all with just a few lines of crackling dialogue. The scenes between Walter and Keys are equally fascinating in the way that the fatherly affection Keys holds for his protégée conveys a sense of decency that so starkly constrasts Walter and Phyllis’ warped point of view. Similarly, Walter’s friendship with his victim’s sheltered daughter, Lola, adds an excellent juxtaposition to the world weariness exhibited by the other characters. The film’s plot is written with the same finesse as its dialogue, and keeps audiences engaged in and guessing at its tawdry twists, even though its opening frame has already clued viewers in to how it will all end.

The film’s actors turn in uniformly excellent performances that bring the story’s twisted characters to life. As the calculating Phyllis, Barbara Stanwyck is truly the quintessential femme fatale. With just one look or line of rapid fire dialogue Stanwyck conveys a tantalizing combination of sensuality, intelligence, and hardness that sets her homicidal heroine apart from the oversexed, and underwritten femme fatales that populate noir. Fred MacMurray creates a perfect balance between Walter’s genial salesman exterior and darker motives in such a way that ensures that audiences continue to root for him despite his despicable actions. Edward G. Robinson provides excellent support as the no-nonsense Keys and acts as an ideal foil to MacMurray’s everyman gone astray. The combined talents of its stars makes this film an essential view for fans not just of noir, but also of excellent film acting.

World-weary, bleak, and gritty are all words that could aptly describe Double Indemnity. To limit this film to a such a check list of standard noir fare, however, would fail to do justice to this truly innovative piece of Hollywood history. The film’s daring approach to a taboo plot remains shocking even by modern standards and was nothing short of explosive at the time of its debut. Its hard-boiled dialogue and layered performances make the film more than a series of thrills, and instead an unforgettable journey into the darkness lurking within us all. If you’re in search of classic noir, look no further than straight down the line to Double Indemnity.

One of the few people who can pull of sunglasses indoors

Classics: A Review of Some Like It Hot By: Lauren Ennis

One of the oldest adages in show business is ‘you’ve got to get a gimmick’. As cliché as it has become, this adage has held true throughout the advent of modern theater, film, and television as programs and stories of all kinds are routinely judged by their ability to capture passing trends, hot buzzwords, and find a place at the ‘cutting edge’. What the makers beyond many works seem to have forgotten, however, is the fact that while the presence of such a gimmick may help to draw viewers in, a work must possess something more than temporary appeal to become a true classic. This week’s review will feature a film that takes a common gimmick and turns what easily could have been a one note joke into a fully developed satire of modern romance and gender norms; the 1959 comedy classic Some Like It Hot.

One of these things is not like the other...

The story begins in the heart of the roaring Prohibition era as jazz musicians Joe (Tony Curtis) and Jerry (Jack Lemmon) attempt to find a new gig in the competitive Chicago jazz scene. After a relentless search, the only gig that the duo can find is to fill two empty spots in an all-girl band heading to Miami. Before they can find more suitable positions, the pair find themselves caught up in the crossfire of a local mafia war as they witness a mass shooting reminiscent of the St. Valentine’s Day Massacre. Fearing for their lives and too broke to pay their own way out of Chicago, Joe and Jerry concoct a scheme that’s just wacky enough to work when they hit the road to Florida with the girl band under the aliases ‘Josephine’ and ‘Daphne’. The hijinks are only beginning as the truly dynamic duo hilariously try to maneuver through romantic entanglements with a lovably ditsy band-mate (Marilyn Monroe) and a pushy millionaire (Joe. E. Brown). Just when their lives can’t seem to get any more complicated, Joe and Jerry realize that their hotel is hosting a ‘Friends of the Italian Opera’ conference that is actually a cover for a mafia conference, which the very criminals that they’re running from are scheduled to attend.  The pair’s double lives come crashing into conflict in a chase sequence that culminates into what is widely considered one of the most perfect endings in cinematic history.

While many films have utilized the worn cliché of cross-dressing comedy, Some Like It Hot remains innovative in its ability to take what was essentially a burlesque skit and transform it into a multifaceted, razor-sharp, comedy. The film could have easily relied upon the easy laughs that come of watching the two male leads don female disguises, but writers Billy Wilder and I.A.L. Diamond rightly chose to approach their screenplay with an eye for social commentary. Loosely written as a remake of the 1951 German comedy Fanfaren der Liebe, Some Like It Hot uses its heroes’ fish out of water dilemma to examine the absurdities of contemporary gender and relationship norms. For instance, Joe begins the film priding himself on his ability to attract and promptly leave women without the complication of becoming deeply involved. By the end of the film, however, Joe has seen how the other half has lived through his friendship with quirky band-mate, Sugar, and when he tricks Sugar into seducing him as an act of mercy, he is dismayed to find that he finally feels remorse. Similarly, Jerry is mortified when he learns of the harassment that women are often subjected through in his efforts to dodge the affections of hands-on millionaire Osgood Fielding. Beyond the simple juxtaposition of opposites, the film takes its examination of gender roles a step further as Jerry gradually enjoys his female persona and and begins to consider following Sugar’s plan of becoming a (unusual) gold-digger. Through its witty play on stereotypes and social standards, the film reminds us that men and women are driven by the same hopes, desires, and dreams, and it is those common bonds that make us truly human.

You can always spot a millionaire by his ridiculous accent

While the film does possess an excellent script, Some Like It Hot would not have attained its classic status without the help of its stellar cast. The supporting cast all lend excellent support with particular nods due to George Raft as an aging gangster who adds just the right level of menace to the film’s otherwise light atmosphere and Brown’s hilarious take on the lascivious Osgood. In another in her long line of blonde bombshell roles Marilyn Monroe truly shines as the delightfully daffy Sugar. While the part could have been just another display of her sex symbol status, Monroe transforms Sugar from a two dimensional role into a full fleshed woman who embarks upon a journey of self discovery as she finds the confidence to be her own woman and follow her desires, even if they do lead to another dreaded saxophone player. Despite the talent surrounding them, there is no doubt that the film truly belongs to Curtis and Lemmon as they bicker, cross-dress, and chase their way into audience’s hearts. The pair inspires laughs from the first to final frames as they play off of one another in such a way that they simultaneously propel the plot’s hijinks and develop their characters. Whether it’s scraping by for a job, enjoying a contraband slumber party, or running from the mob in a pair of high heels, Curtis and Lemmon’s interactions are never less than the stuff of comedy gold.

Romantic comedy, social satire, and buddy flick; Some Like It Hot is a comedy that truly has something for everyone. The film’s script contains a superb balance of broad humor and sophisticated wit that ensures that the laughs will keep coming viewing after viewing. The film’s all-star cast is at its peak with the unique talents of each star given room to fully shine through. Regardless whether you like classical, jazz, or anything in between one thing is for sure, few comedies are able to sizzle quite like Some Like It Hot.

Nobody's perfect...but this movie comes awful close

Classics: Three Troubling Trends in Hitchcock Films By: Lauren Ennis

Director Alfred Hitchcock is both renowned and revered in cinematic circles for his daring work in the suspense genre. Despite the longevity of his career and the many accolades that he achieved, he is almost as famous for his bizarre personal habits as for the cinematic trademarks that they inspired. While it is common for artists to incorporate their personal views and perspectives into their work, recurring motifs and themes in Hitchcock’s work provide viewers with insight into some of the darker reaches of the director’s psyche. While I have yet to view all of the films in the director’s cannon, here are three truly troubling trends I have noticed in the Hitchcock films that I have viewed.

I'll love you forever Mr...what was your name again?

1.      IRRATIONAL ROMANCE: Many a Hitchcock thriller begins with a romance that lasts through thrills, chills, and unbelievable twists. Unlike many film love stories, however, Hitchcock’s romances are almost exclusively whirlwind courtships. These romances begin not with mutual respect or a level of common understanding, but with shared attraction and insatiable longing that begins and is cemented with a single exchange of glances. As a result, these romances lack a logical basis that would sustain a relationship through the shocking ups and downs that feature in the director’s plots. Because these relationships begin instantaneously, the audience is left wondering what it is that binds the leads together throughout a given film’s plot and why we should invest ourselves in a relationship that the key players don’t seem terribly invested in. While the inclusion of love stories can serve as an emotional center of a film, in Hitchcock’s films they all too often serve as mere plot devices and half-hearted motivation for illogical character decisions. This use of relationships as a convenient edition to the plot in turn makes the characters and their motivations seem unbelievable and makes it difficult for viewers to suspend their disbelief in regards the rest of the story. Thus, Hitchcock's use of the well-worn cliché of a whirlwind romance reduces his otherwise complex tales of intrigue to simple thrills that amount to little more than parlor tricks once the lights go up and the credits fade. As seen in: Spellbound, North By Northwest, Suspicion, Rebecca, Vertigo, The Birds, Marnie, Foreign Correspondent, Easy Virtue, and Young and Innocent,

Joan Fontaine will take Mrs. Danvers over this old biddy any day

2.      OLD PEOPLE ARE JUST THE WORST: All people have biases, and directors are no different from the rest of us in this respect. What does set Alfred Hitchcock apart, however, is the unusual subject of one of his biases; the elderly. Throughout his film cannon elderly characters (usually women) appear in roles of varying degrees of importance but share one commonality; they are all insufferable people. In his portrayals, he alternates between showing elderly characters who are rigidly cynical or blissfully ignorant of the world around them. The characterizations range between the almost childlike naivety of Bruno's mother in Strangers on a Train and Charlie's mother in Shadow of a Doubt to such moralistic battle axes as Mrs. DeWinter's employer in Rebecca and Mrs. Bates in Psycho. In both instances, the elderly characters' qualities prevent them from functioning in the greater world in a meaningful way, leaving them shrouded within their own delusions. This inability to relate to the world around them makes these characters nuisances to the central players in Hitchcock's films as they blunder the leads into awkward and dangerous situations that they are always unable to comprehend the significance of. Through these portrayals, it becomes evident that the director viewed the elderly as outdated in both moral and social attitudes and obsolete in life's greater plots; a bias that one suspects hit him especially hard when his own career began to wane with age. As seen in: Rebecca, Strangers on a Train, Psycho, Suspicion, Shadow of a Doubt, Mr. and Mrs. Smith, Marnie, The Birds, Notorious, Saboteur, and Rope

Nothing says wanton woman like a pair of glass frames

3. HITCH DON’T MAKE PASSES AT GIRLS WHO WEAR GLASSES: Numerous writers have already chronicled the disturbing trends of Hitchcock's heroines and his alleged misogyny, but few writers have detailed his particular disdain for women in glasses. Although the director's heroines are usually too glamorous and mysterious to don such stereotypically unsexy accessories, many of his supporting actresses were required to wear glasses. While these vision impaired ladies do possess variety, they still maintain the common threads of their unconventional behavior. In each portrayal of a woman with glasses, from Strangers on a Train's manipulative nymphomaniac, Miriam, to Vertigo's faithful best friend, Midge, Hitch's bespectacled ladies are all unusually blunt to the point of being tactless, and are unable navigate the niceties of polite society. While this behavior is not always malicious, it is always perceived as being common, condescending, and above all unfeminine. In the few instances in which his leading ladies do wear glasses, such as Suspicion's spinterish Lina and Spellbound's lonely, workaholic, Dr.Petersen, they do so as a symbol of their character's status as outsiders. These women are depicted not as being predictably intellectual or career driven (Lina remains unemployed and acts illogically throughout Suspicion) so much as misguided in their refusal to meet contemporary standards of dress, interests, and social interaction. It is only when these ladies shed their dreaded glasses that they are able to embark upon the film's main adventure and attract the attention of the hero. While the image of the bespectacled spinster who allows life to pass her by is a tired one, it is actually not their passivity that holds Hitchcock's vision impaired ladies back but their assertiveness, as the heroines only step into lead status upon taking a secondary place next to the hero and the confident supporting females remain at their story's margins. Misogynist or not, one thing's for certain, Alfred Hitchcock was not a man to make passes at girls who wear glasses...except for his independent screenwriter/director wife Alma Reville...now there's a thought for another blog entry. As seen in: Strangers On a Train, Vertigo, Stage Fright, Shadow of a Doubt, Spellbound, and Suspicion.