Movie #38: 12 Angry Men. Or really, justice as it should be.

Title: 12 Angry Men

Starring: Henry Fonda and 11 others

Directed by: Sidney Lumet

Number on the AFI List: 87 (cause they're CRAZY)

Year: 1957

For a movie that only ever names two characters (at the end) and takes place primarily in one room (the jury deliberation room), this movie is SO well done. The director and cinematographer did a fantastic job keeping the movie interesting with the different shots, many of them so jarring and uncomfortable it made me claustrophobic just watching. The heat in the room was palpable, not only in temperature but also between the actors. The writer did a great job writing moments of intensity followed by moments of ease, creating an ebb and flow that kept the film entertaining and yet intense. Henry Fonda, as Juror #8, does a fantastic job keeping the other men on track, but the movie is a great example of a true ensemble performance. 

The crime: a juvenile minority has been accused of stabbing and killing his father. Not to give anything away, each of the men has to overcome their prejudices and assumptions to come to a more accurate verdict. Some of the actors have an easier time overcoming this than others. Each of the men's walls are so beautifully built up and then torn down until the climactic conclusion. I only hope and pray that all citizens take their responsibility of jurors as serious as these men did, especially when someone's life is on the line. 

"It's always difficult to keep personal prejudice out of a thing like this. And wherever you run into it, prejudice always obscures the truth. I don't really know what the truth is. I don't suppose anybody will ever really know. Nine of us now seem to feel that the defendant is innocent, but we're just gambling on probabilities - we may be wrong. We may be trying to let a guilty man go free, I don't know. Nobody really can. But we have a reasonable doubt, and that's something that's very valuable in our system. No jury can declare a man guilty unless it's sure."

Favorite moment: Hard to choose, the movie doesn't have scenes as much as continuous moments, more like a play than a film. However, when Juror #9 speaks and the camera does an up close shot of his face...I found that fascinating. And he has some pretty awesome speeches, too.

Will I Watch it Again: Yes!

Movie #37: The Searchers. Or really, cowboys vs. indians.

Title: The Searchers

Starring: John Wayne, Jeffrey Hunter, Vera Miles

Directed by: John Ford

Year: 1956

Number on the AFI List: 12

According to the AFI List, I should’ve liked this movie a lot more than I did. Not saying that it was a bad movie- it was shot beautifully, Ethan’s (John Wayne) character arch was fantastic, and the story was compelling, but still, it wasn’t my cup of tea. I’m still not a Western fan, even with John Wayne as the leading man.

Ethan’s niece, Debbie, has been kidnapped by Comanche Indians, led by their leader, Scar, after the Comanche’s killed the rest of their family. Ethan sets out on an epic journey to find his nieces with his nephew, Martin (Jeffrey Hunter), the only surviving relative. They face hardship, hunger, and loss of humanity as they try to piece together where the Comanche might be. Along the way, we meet Laurie (Vera Miles), the girl who Martin should be engaged to if he would get his act together. They provide a sense of family and support as Ethan and Martin go on their journey together. Even when they finally find Debbie, Ethan has to decide if he wants to save her, or kill her (which provides a fantastic character journey for Ethan).

I will say, the comedic elements of this movie were fantastic. So many little moments happen in the midst of the drama that provided laughs. The “fight” between Martin and Charlie was hysterical, and the reverend getting his behind sewn up at the end of the movie was the icing on the cake. I especially loved when Martin accidentally got married to a Native American woman.

Favorite scene: Laurie reading Martin's letter about accidentally getting married.

Will I watch it again: I won’t rush, but I won’t say never.

Movie #36: Rear Window. Or really, too much time on your hands.

Title: Rear Window

Starring: Jimmy Stewart, Grace Kelly

Directed by: Alfred Hitchcock

Year: 1955

Number on the AFI List: 48

FINALLY, a Hitchcock classic on the AFI list! And starring my man Jimmy Stewart, no less!

Rear Window is a fascinating film set in one room, with the majority of the action taking place in the apartment building next door. It’s a hot summer in Greenwich village, so everyone is living with their windows open. This is convenient for Mr. Jeffries (Stewart).  He’s wheelchair and home bound with a broken leg, so there is nothing better for him to do than to look out the window and watch the different narratives taking place in his neighbor’s apartments. In the midst of this, he becomes suspicious that one of his neighbors, Mr. Thorwald (Raymond Burr), killed his wife. Thus, the main plot of the film is Mr. Jeffries, his girlfriend Lisa (Grace Kelly), and his masseur Stella (Thelma Ritter) trying to figure out how the murder happened and convince Detective Doyle (Wendell Corey) that Mr. Thorwald is guilty. The plot is filled with romance, suspense, and drama, never boring, well written and acted.

This film displays the fascinating storytelling Hitchcock is known for creating; in the midst of the main plot, we get to see six other lives played out from Mr. Jeffries’ point of view. The most memorable are Mrs. Lonelyhearts, who can’t seem to find love, the single dancer who constantly dances in her apartment, the tortured composer, and the husband and wife who prefer to sleep on their fire escape. This quirky set of neighbors all live in their own little world with little to no contact with one another, leaving plenty of room for assumptions and suspicion.

Favorite moment: When the couple on the fire escape have to rush to bring in their mattress before it rains.

Will I watch it again: Probably! 

Move#34: Shane. Or really, I accidentally deleted this post.

I accidentally deleted this post, and that makes me sad. I didn't like this movie, however. So I don't want to bother with rewriting about it. I don't really like Westerns, and this one was a tough one for me to get through. Beautiful filmmaking, though.

Movie #35: On the Waterfront. Or really, standing up to the man.

Title: On the Waterfront

Starring: Marlon Brando, Eva Marie Saint, Karl Malden

Directed by: Elia Kazan

Year: 1954

Number on the AFI List: 19

"You don't understand! I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am."

Y’all, this movie is FANTASTIC. I’ll be thinking about this one for a while. The cast, the story, the cinematography, everything about this movie worked together beautifully. I would expect nothing less from the great Elia Kazan! On the Waterfront is about Terry (Marlon Brando), a longshoreman/former prize-fighter, who works for the union bosses in their schemes to keep control of the workers (i.e. kill people). He slowly begins to see the light through the help of a priest, Father Barry (Karl Malden), and the sister of one of the men killed, Edie Doyle (Eva Marie Saint). Should Terry remain loyal to the union gang in order to keep him and his family safe? Or should he do what is just? These questions and themes not only take place in Terry’s life, but in the life of Father Barry. Father Barry wakes up to his own hypocrisy early on in the film, after Edie points out that his rightful place is doing justice on the streets, not hiding inside his church. Once he wakes up to this, he is risks his own life in order to stand up for what’s right, and encourages Terry to do the same. Now that I’m writing this, I’m afraid the plot sounds cliché. I promise you, this movie is far from it.

Beyond that, realism is slowly starting to set in for film actors during this time, which makes for very moving yet subtle performances from the entire cast. I have to really hand it to Eva Marie Saint; she carried herself so well opposite Marlon Brando that there were times when I thought the movie was about her. This movie went on to in eight academy awards, including best picture, and it deserved every one of them. 

Favorite moment: Father Barry’s speech to the workers in the boat. So moving. So Christ-like."Some people think the Crucifixion only took place on Calvary. They better wise up!" "Boys, this is my church! And if you don't think Christ is down here on the waterfront you've got another guess coming!"

Will I watch it again: Yes, and with whoever wants to watch it with me!

Movie #33: High Noon. Or really, "24," western style.

Title: High Noon

Starring: Gary Cooper and Grace Kelly

Directed by: Fred Zinnemann

Number on the AFI List: 27

Year: 1952

Westerns seem to me to be the super hero movies of the past-one man, flawed yet strong, overcomes all inevitable odds to right the wrongs of injustice. I have to admit, I'm not the biggest fan. Gun slingin', chaps wearin', horse ridin' adventures just don't quite cut it for me. However, High Noon is a cinematic achievement, with compelling storytelling, beautiful cinematography, and great acting. This movie poses a lot of questions of what is just and how far does one have to go to maintain peace for his people (even when they don't want help), what sacrifices must be made, and how does one right the wrongs of one's past. I love the dichotomy from the beginning of the wedding of former Marshall Will Kane (Gary Cooper) and Amy Kane (Grace Kelly) while the "bad guys" are coming back to town to enact their revenge. The intensity builds over an hour while Will Kane tries to rally troops to help him fight the returning Frank Miller and his gang of roughriders to no avail. He sacrifices leaving for his honeymoon with his pacifist, quaker wife, in order to make sure the town he currently is no longer in charge of remains safe. Unfortunately, no one in the town stands by him, and this marshall has to fight the battle himself (...or does he?). 

The cinematography of this film is fantastic. Zinnemann creates the feeling of aloneness not only in Kane's circumstances but also in showing how "alone" this town really is-the train is coming from miles away with no other town in sight. Also, the most powerful shot of the movie is when Gary Cooper is alone, walking the street in the middle of town, with no help in sight, and the camera pans out ever so slowly to reveal just how deserted the town really is. 

Favorite moment: My favorite moment would ruin the movie, so I'll just give a screenshot of Gary Cooper walking in town:

Also, here's a picture of Grace Kelly with Fred Zinnemann. Cause why not?

Will I watch it again? Hmm...probably not. 

Movie #32: Singin' in the Rain. Or really, singing in the milk!

Title: Singin' in the Rain

Starring: Gene Kelly, Donald O'Connor, Debbie Reynolds

Directed by: Stanley Donen, Gene Kelly

Number on the AFI List: 5

Year: 1952

The only thing I knew about Singin' in the Rain before last night was that in order for the rain to show up on film, the production team used milk instead of water for the famous "Singin in the Rain" number. So I was kind of surprised there isn't a lot of singing in the rain in this film. It's only one moment. Maybe I'm the only person in existence who didn't know that (fact). 

HOWEVER, this movie is a fantastic musical comedy filled with great singing and TAP DANCING (that I ALWAYS love).  I consistently enjoy movies about making movies, and this one was no exception. I must say, Lina Lamont, played by Jean Hagen, was my favorite character. Her voice! So funny. The three leads were fantastic dancers and singers; I must say though, Donald O'Connor stole the show with his quirky and hilarious depiction of Cosmo Brown.  I also enjoyed the use of "special effects" in this movie; I don't think I've seen any sort of special effects since King Kong! Overall, Singin in the Rain was a funny and charming movie that I will be glad to watch over and over again!

Favorite moment:

Will I watch it again? Yes!