#597) The Maltese Falcon (1941)

#597) The Maltese Falcon (1941)

OR “Follow That Bird”

Directed & Written by John Huston. Based on the novel by Dashiell Hammett.

Class of 1989

The Plot: San Francisco private investigator Sam Spade (Humphrey Bogart) is approached by Ruth Wonderly (Mary Astor) to track down her missing sister. When Spade’s partner Miles Archer (Jerome Cowan) is shot dead while investigating, the suspiciously stoic Spade takes the case (despite being a prime suspect). Spade soon learns that Wonderly is actually Brigid O’Shaughnessy, in town as part of the search for “The Maltese Falcon”, a jewel-encrusted 16th century statuette expected to be worth a fortune. During his investigation, Spade also crosses paths with two other crooks looking for the Falcon: the effeminate Joel Cairo (Peter Lorre), and the intimidating Kasper Gutman, aka “The Fat Man” (Sydney Greenstreet). The ensuing suspense is, for lack of a better word, priceless. 

Why It Matters: The NFR ranks “The Maltese Falcon” as “[a]mong the most influential movies to emerge from the Hollywood studio system”, praising Huston and Bogart for “captur[ing] the true essence of Hammett’s story”. An essay by film critic Richard T. Jameson successfully encapsulates the film and its production.

But Does It Really?: Now that’s a damn good movie. “The Maltese Falcon” is many things – a thrilling mystery, a faithful page-to-screen adaptation, the prototype for all film noir- but above all it is a thoroughly entertaining movie from beginning to end. In his directorial debut, Huston successfully translates the novel’s spirit, while maintaining a relentless pace that always keeps you on your toes. The ensemble is led by a never-better Bogart, to say nothing of the other outstanding cast members, all of whom add to the film’s excitement and mystery. “Falcon” holds up remarkably well 80 years later, and will continue to endure for years to come.

Wow, That’s Dated: Just the usual sexism that I’ve come to expect from the golden age of Hollywood. It’s not overwhelming here, but it’s definitely there. And I still don’t know what to make of Sam’s line to Cairo “When you’re slapped, you’ll take it and like it.”

Title Track: Perhaps to help differentiate this “Maltese Falcon” from its earlier film adaptations, Warner Bros. wanted to retitle this film “The Gent from Frisco”. Thankfully, Huston was able to persuade the powers that be to keep the original title.

Seriously, Oscars?: A hit upon release, “The Maltese Falcon” received three Oscar nominations: Picture, Screenplay, and Supporting Actor for Sydney Greenstreet. In a field of such strong contenders as “Citizen Kane” and “Sergeant York“, “Maltese” lost all three nominations – two to “How Green Was My Valley“. Although Mary Astor was not even nominated for her work in “Falcon”, she did win Best Supporting Actress that year for her role in the melodrama “The Great Lie”.

Other notes

  • John Huston began his show business career as a screenwriter, writing and polishing screenplays for Warner Bros. starting in 1937. When Huston wanted to start directing his own scripts, Jack L. Warner agreed on the condition that Huston’s next screenplay was successful. The script was “High Sierra”, a hit upon its release in January 1941. Huston chose to adapt “The Maltese Falcon” as his first movie, a risky choice given that Warner Bros. had adapted the novel to film twice in the last decade (a pre-code version in 1931, and again in 1936 as the comedy “Satan Met a Lady”). The story goes that Huston’s first draft of the screenplay (a straightforward write-up of the novel’s events) was prematurely sent to Warner and the film’s producer Henry Blanke. To Huston’s surprise, the script was immediately approved and put into production.
  • With the budget of a B-movie and only six weeks to film everything, Huston maximized his shoot by storyboarding the entire movie in advance, and writing detailed camera instructions into the script. The shoot was by all accounts an enjoyable one, with Huston and the cast engaging in practical jokes between set-ups. Thanks to Huston’s preparedness, shooting wrapped under budget and two days ahead of schedule.
  • George Raft was the first choice to play Sam Spade, and turned it down (allegedly he did not want to work with a novice director). Thankfully, second choice Humphrey Bogart accepted the role. With a string of supporting parts in gangster pics under his belt, you can see how Bogart became a star after this: Sam Spade is the ruler of all he surveys in this movie. Totally in control, cryptic yet always charismatic, a star turn if ever there was one. Plus the character’s constant jadedness provides an entertaining running commentary.
  • The corner of Bush and Stockton where Archer is shot is a real-life San Francisco location, and today is commemorated with a plaque featuring a major spoiler.
  • I always forget how fast everybody talks in old movies. It’s not at an overlapping Hawksian speed, but it’s still fast. No wonder this movie is so short. Despite this, Huston already knew a pivotal rule of filmmaking from the beginning: shoot the most important dialogue either in close-up or from a new angle; this subliminally tells your audience to pay attention.
  • Mary Astor’s great in this. Her Brigid is a complex spinning coin who never truly lands heads or tails until it’s too late. You can see the gears turning in Brigid’s head as each of her lies is called out. It’s method acting before the term existed. 
  • And then we get to Peter Lorre, one of filmdom’s greatest character actors. You never forget a Peter Lorre performance, especially here as a sophisticated, neurotic criminal. The character’s homosexuality had to be toned down, but come on; the gardenia scented card, the phallic umbrella handle. We all know what’s up.
  • I’ve always wondered if you could ever replicate taxi cab chases in a modern movie. It’s not like you can tell your Lyft driver to “follow that car and step on it!” Too many insurance risks. And oh, the awkward small talk.
  • He doesn’t show up until halfway through the movie, but Sydney Greenstreet is worth the wait. A stage actor making his film debut, Greenstreet nearly steals the show with his menacing theatricality. He’s so good you forget that his story of the Falcon’s history is just him talking for seven minutes!
  • My favorite moment is when Spade, while being interrogated by the district attorney, rattles off what he knows about the case at a break-neck pace, stopping only to check in with the stenographer to ensure he’s getting it all down. It’s hilarious.
  • I spent a lot of this movie trying to remember where I know Elisha Cook Jr. from, his boyish good looks standing out against his angular features. After some research, my conclusion is that I’m recognizing him from other NFR films I covered early on, including “The Big Sleep” and “Rosemary’s Baby“.
  • Perhaps the greatest walk-on cameo in film history: John Huston’s father Walter (already a well-known stage and film actor in 1941) as the ill-fated Captain Jacoby. The elder Huston stumbles into Spade’s office, his hat tucked down to obscure his face, delivers the package, mutters his line, and falls down dead. 
  • I realized that “Maltese Falcon” shares a lot with “Treasure of the Sierra Madre“, Huston’s later film that I admired but couldn’t fully get into. Both are movies about a group of strangers on a quest for an alleged fortune. While both show the dangerous extents greedy people will go to, “Falcon” meditates more on perceived value vs. actual value. Of course, now that I think about this, you can apply that to pretty much all of Huston’s movies.
  • The only weak link in this ensemble is Gladys George, sporadically popping up as Archer’s widow, an overdramatic Miss Havisham-type clad in black. It’s a very one-note performance, not aided by the deletion of most of Ida’s characterization from the novel.
  • [Spoilers] The last act of the movie is a surprisingly intense summation of events, expertly handled by Huston and his ensemble. The highlight is – of course – the awaited arrival of the Falcon, and the revelation that it is fake. This is followed by Cairo going full Peter Lorre on Gutman. With his bulging eyes and gritted pronunciation (“You bloated eediaht! You styupid fat-head!”), it’s like he’s turning into Ren from “Ren and Stimpy” right in front of us.
  • The film’s most iconic line is a paraphrase from “The Tempest” (“We are such stuff as dreams are made on”), and is original to the movie. My favorite part is that “The stuff that dreams are made of” is technically not the last line. That distinction goes to Ward Bond’s follow-up: “Huh?”

Legacy

  • “The Maltese Falcon” was a hit and jumpstarted the careers of both John Huston and Humphrey Bogart. While it predates true film noir by a few years, “The Maltese Falcon” is often cited as the genesis of the genre.
  • Warner Bros.’ proposed sequel, “The Further Adventures of the Maltese Falcon”, quickly stalled due to Huston’s salary demands and the cast’s unavailability. Huston would write a pseudo-sequel a few years later called “Three Strangers”. When it was discovered that the film rights to the character of Sam Spade had reverted back to Dashiell Hammett, the script was re-written as a separate entity (though the final film does star Sydney Greenstreet and Peter Lorre).
  • John Huston would continue to direct movies for the next 46 years! His filmography has plenty of classics in it, and span a wide array of genres. He even directed “Annie”!
  • “Maltese” was the beginning of a beautiful friendship (if you will) for Huston and Bogart. The two collaborated on five additional films, including “The African Queen“, which earned Bogie his long overdue Oscar.
  • Film noir got a bit of a resurgence in the ’70s (I blame “The Long Goodbye”), which ultimately devolved into parody. The 1975 comedy “The Black Bird” saw George Segal as Sam Spade Jr., inheriting his father’s detective business and getting mixed with criminals still trying to find that damn bird. Despite appearances by original “Falcon” actors Lee Patrick and Elisha Cook Jr. reprising their roles, “The Black Bird” failed to take off.
  • As for the prop Maltese Falcon itself, the statuette used in the film has become – somewhat ironically – one of the most valued and sought after movie props in history. At least three Falcon statuettes made for the film are known to exist, and have had their share of owners over the last 80 years. The only one verified to have been in the final film (noted for its bent tail after Bogart dropped it) was sold at auction in 2013 for over four million dollars! That’s over 10 times the budget of the original film!

#596) WALL-E (2008)

#596) WALL-E (2008)

OR “Robot-son Crusoe”

Directed by Andrew Stanton

Written by Stanton & Jim Reardon. Story by Stanton & Pete Docter.

Class of 2021

The Plot: In the early 2800s, Earth has become a massive garbage dump, abandoned by humans 700 years earlier. While a series of robots were sent to clean up the mess in anticipation of humanity’s return, only one has survived, a Waste Allocation Load-Lifter: Earth class – or WALL-E for short (voiced by Ben Burtt). WALL-E spends his days collecting junk he finds interesting and rewatching his VHS copy of “Hello, Dolly!”. Upon the arrival of an Extraterrestrial Vegetation Evaluator – EVE (voiced by Elissa Knight), WALL-E is immediately smitten. Once EVE discovers a single seedling in the dirt, she returns to the humans’ starliner the Axiom, with WALL-E secretly tagging along. From there we get a warning about the negative effects of consumerism and our impact on the environment, mixed with a surprisingly touching and optimistic love story.

Why It Matters: The NFR calls the film “[a] triumph even by Pixar standards”, praising the film’s “skillful animation” and “imaginative set design”.

But Does It Really?: Ever since seeing this film in the theater in 2008, I have considered “WALL-E” one of the best movies ever made, animated or otherwise. At a time when Pixar was creatively infallible, “WALL-E” pushed the envelope by being cautionary without condemning, sweet without being over-sentimental, and funny without relying on crudity or pop-culture. I agree with the AFI’s summation of “WALL-E”, which declared this film proof that “the film medium’s only true boundaries are the human imagination.” Although I would have selected Stanton’s earlier Pixar hit “Finding Nemo” to make the Registry first, “WALL-E” is a near-perfect movie and no less deserving of its NFR induction.

Shout Outs: References throughout to “2001“, plus an allusion to “Alien” (Sigourney Weaver voices a Mother-esque computer). And keep your eyes peeled for a clip from “A Corner in Wheat“, as well as a few nods to “Toy Story“.

Everybody Gets One: Co-screenwriter Jim Reardon is best known for helming over 30 episodes of “The Simpsons” during its early years. Reardon left “The Simpsons” in the early 2000s to work on “WALL-E”, and has since co-written “Wreck-It Ralph” and “Zootopia”. Pixar employee Elissa Knight often voiced character temp tracks to help animators before the official voice-actor had been recorded, but Andrew Stanton loved her temp track for EVE so much that she became the final voice for the character. Knight still works for Pixar as a producer’s assistant.

Wow, That’s Dated: Among WALL-E’s possessions are such mid-2000s technology as the iPod mini and the Big Mouth Billy Bass. Speaking of the mid-2000s: President Forthright uses the phrase “stay the course”, used by then-President George W. Bush in reference to the war in Iraq.

Seriously, Oscars?: A critical and box office hit upon release, “WALL-E” received six Academy Award nominations, tying “Beauty and the Beast” for the most nods by an animated film. “WALL-E” took home Best Animated Feature as expected, and lost its other five nominations to “Slumdog Millionaire”, “Milk”, and fellow NFR inductee “The Dark Knight“. The exclusion of both “WALL-E” and “Dark Knight” from Best Picture is rumored to have inspired the expansion of that category from five nominees to ten the following year.

Other notes 

  • Andrew Stanton first came up with “WALL-E” during a lunch meeting in 1994 that also spawned the creations of “A Bug’s Life”, “Monsters Inc.” and “Finding Nemo”. Stanton and Pete Docter worked on the script for two months, but hit a roadblock and moved on to other projects. Following the success of “Finding Nemo” in 2003, Stanton returned to “WALL-E”, adding the love story and its environmental message. The project was green-lit shortly thereafter.
  • While the film’s concerns for our environment definitely rang true in 2008 (this was two years after “An Inconvenient Truth” after all), these cries definitely stick out more in a COVID-era viewing. We are so royally screwed.
  • As much as I love movie musicals, I have tried and failed twice in my life to watch “Hello, Dolly!” all the way through. You’d think something with Gene Kelly at the helm wouldn’t be so flat and boring, yet here we are. The film’s archival inclusion within “WALL-E” is as close to the Registry as that movie will ever get. And for the record, “Dolly” composer Jerry Herman loved the use of his songs in “WALL-E”.
  • After finishing his work on the “Star Wars” prequels, legendary sound designer Ben Burtt vowed to never work on another movie with robots, but changed his mind after being inspired by Stanton’s pitch of “WALL-E”. Burtt used the same sound design techniques he had implemented 30 years earlier for R2-D2 (vocal intonation processed through a synthesizer), as well as many in-house items from Disney’s sound department. He even bought a 1950s electrical generator on eBay to get the right sound for WALL-E’s movements.
  • WALL-E kinda looks like Johnny 5 from “Short Circuit” – though Andrew Stanton has always stated that this was coincidental.
  • “WALL-E” showcases some of the best visual storytelling in film since the silent era. The first 30 minutes or so are near-flawless, with every movement aiding in developing the story and/or characters, with sparse dialogue supporting these visuals. Each composition is so clean and precise, you get the sense that no stone was left unturned in the filmmaking process.
  • Originally WALL-E was to encounter a race of gelatinous aliens in space, but this evolved into the equally gelatinous humans of the final film. I fully acknowledge the irony of me sitting in a reclining chair watching a screen showing a movie of people sitting in reclining chairs watching their screens.
  • Is it me, or does the inside of the Axiom look a lot like the Dallas/Fort Worth Airport?
  • John Ratzenberger makes his trademark Pixar appearance, this time as the aptly named John. It’s nice to see that Bostonian accents survive centuries of human evolution in space. Also lending their voice to one of the humans is comedian Kathy Najimy as Mary. That story again: Peggy Hill’s on the NFR.
  • It wouldn’t be a Pixar movie without a reference to A113, the CalArts classroom from which many top animators got their education. “WALL-E” marks the first time A113 is a major plot point, rather than a throwaway easter egg.
  • Man do I miss Fred Willard. Even as the inept Buy-n-Large CEO/President of Earth he’s just so endearing.
  • Original “SNL” cast member Laraine Newman provides several “additional voices” in the film (some sources credit her as the “Beauty-Bot”). I was once in a car with her, but that’s another story.
  • Easily my favorite scene in the movie (as it is for many others) is WALL-E and EVE dancing in space. It follows the logic of old movie musicals: when you feel so much that you can’t express it in words, dance. These two robots harmoniously moving through space is just beautiful, though the “define dancing” moment at the end is a bit on the nose.
  • Also technically making their only NFR appearance: MacInTalk, Apple’s text-to-speech program, as the voice of AUTO. The acting unions must have been pissed about that one.
  • Honestly, I didn’t write a lot of notes for this one. I’ve seen “WALL-E” several times over the years, and every time I’m just so entranced by it. Much like the film’s “irrational love defeats life’s programming” thesis, my attempts to deconstruct this film are always upended by my appreciation for its artistry.
  • Cool, Peter Gabriel! The former Genesis frontman was apparently a big fan of “Finding Nemo”, and co-wrote and performs the song “Down to Earth” during this film’s closing credits. The song is paired with animation covering the rehabilitation of Earth after test audiences were concerned that the humans of “WALL-E” would destroy the planet again.
  • As always, the Pixar credits are filled with nuggets of trivia, including “Production Babies”, who are now all in their awkward teen years. Stick around at the very end when WALL-E updates Luxo Jr. with a CFL bulb.

Legacy 

  • “WALL-E” was a success right from the start, earning a heap of critical praise and year-end trophies, ultimately becoming the 5th highest grossing film of the year at the U.S. box office. In the ensuing years, “WALL-E” routinely shows up on lists of the best films of the 21st century (so far).
  • Andrew Stanton followed up “WALL-E” with his first live-action film: 2012’s “John Carter”; one of the most expensive movies ever made, and one of the biggest box office bombs. Stanton returned to animation with 2016’s “Finding Dory”, and continues to serve as part of Pixar’s Senior Creative Team.
  • Like many a Pixar film before it, “WALL-E” doesn’t so much get parodied as it does get referenced in other Pixar movies. That being said, I did track down this amusing parody from 2010 that combines “WALL-E” with “The Terminator“. A bit sophomoric, but it’s “Mad”, what did you expect?
  • You don’t see too much “WALL-E” representation throughout the Disney synergy machine. WALL-E is produced more often as a figurine than a playable action figure, but he does occasionally show up as an interactive animatronic character in the theme parks.
  • When NASA launched “Mars Cube One” (a flyby of the red planet) in 2018, the two nano-spacecraft were nicknamed “WALL-E” and “EVE” as a tribute to the film. After losing contact with the two craft in January 2019, NASA officially ended the mission. Like their namesakes, “WALL-E” and “EVE” are still floating out in space somewhere.

Prior Viewing: “WALL-E” was preceded in its theatrical run by the short “Presto” by Doug Sweetland. With its quick pace and magic-inspired lunacy, “Presto” is like “Magical Maestro“, minus the racial insensitivity.

#595) The Man with the Golden Arm (1955)

#595) The Man with the Golden Arm (1955)

OR “Monkey Business”

Directed by Otto Preminger

Written by Walter Newman and Lewis Meltzer. Based on the novel by Nelson Algren.

Class of 2020 

The Plot: Frankie Machine (Frank Sinatra) returns to his Chicago neighborhood following a stay at a Narcotic Farm. Having finally kicked his heroin addiction (which he refers to as the “forty pound monkey on my back”), Frankie has aspirations to get his life together and become a professional drummer. Frankie’s plans are constantly put to the test by his berating, wheelchair-bound wife Zosh (Eleanor Parker), his old drug dealer Louie (Darren McGavin), and gangster Zero Schwiefka (Robert Strauss), who wants Frankie and his “arm made of pure gold” back dealing his illegal card games. With only his old flame Molly (Kim Novak) and sidekick Sparrow (Arnold Stang) by his side, will Frankie finally get the monkey off his back? And will any of this get past the censorship restrictions of 1955?

Why It Matters: The NFR praises Preminger’s treatment of the subject matter, as well as Sinatra’s “unvarnished” performance, Saul Bass’ “eye-popping” credits and Elmer Bernstein’s “remarkable” score.

But Does It Really?: “The Man with the Golden Arm” is on this list as representation of an early attempt to break down the Production Code, pure and simple. As a film viewed 65 years later, it’s…fine. Sinatra is good as always, and the film’s frank (forgive me) portrayal of drug addiction holds up well, but the film occassionally veers too close to melodrama to be viewed with total seriousness. “The Man with the Golden Arm” deserves to be on this list for its historical significance, and its 31 year wait to make the cut is not surprising or unwarranted.

Wow, That’s Dated: The Narcotic Farm that Frankie stays at in Lexington, Kentucky was a real place, one of two commissioned by the US Government in 1929. The legislation was repealed in 1944, with both farms ceasing operations by the 1970s in favor of more advanced treatment in rehabilitation centers.

Title Track: Despite this movie’s dour subject matter, Sinatra actually did record a title song, which was ultimately rejected by Preminger. The song went unreleased until 2002 as part of a collection of Sinatra’s Hollywood career.

Seriously, Oscars?: A controversial success upon release, “The Man with the Golden Arm” received three Oscar nominations. Frank Sinatra lost Best Actor to Ernest Borgnine’s more endearing work in “Marty“, while the film lost Art Direction and Score to, respectively, “The Rose Tattoo” and “Love Is a Many-Splendored Thing”.

Other notes 

  • Following the release of Nelson Algren’s novel in 1949, the film rights to “The Man with the Golden Arm” were purchased by producer Bob Roberts with the intention of making a vehicle for John Garfield. This attempt was repeatedly discouraged by Joseph Breen and the Production Code, who stated that no film centering around drug addiction would receive a PCA seal of approval. Following Garfield’s death in 1952, the film rights were purchased by Otto Preminger. After his 1953 film “The Moon is Blue” (the first American movie to be released without a PCA seal), Preminger was confident he could make and release “Golden Arm”; funding the project with his own production company and giving distributer United Artists the option to bail if the film didn’t receive the Code’s approval.
  • As always, Saul Bass knocks it out of the park with his opening credits. His trademark minimalist lines (with a stylistically crooked arm) makes a memorable visual, matched by Elmer Bernstein’s fervent jazz score (an early success for the young composer).
  • It’s so weird seeing Darren McGavin playing the heavy after associating him with his later, more lighthearted work in “A Christmas Story“. And Louis is such a menace to Frankie, pushing him to relapse throughout the movie. Don’t you know how fra-jee-lay Frankie is right now!?
  • Also in the “Not expecting them in a drama” category: Arnold Stang. With his rough, caricatured New York accent and his turtle-without-a-shell appearance, Stang works surprisingly well here as Frankie’s ever-faithful wingman. And so help me, I will get Arnold Stang’s other great film role on this list one day.
  • Preminger’s version of “The Man with the Golden Arm” differs enough from its source material to cause a falling out with (and a later lawsuit from) novelist Nelson Algren. For starters: in the novel, Frankie is addicted to morphine as a result of injuries sustained during WWII. In the film, Frankie is addicted to heroin (though it’s never mentioned by name), and his wartime service is barely mentioned.
  • It’s nice to see both Kim Novak and Eleanor Parker in roles more versatile than the parts they are permanently identified with. As Molly, Novak is taken down from the voyeuristic pedestal “Vertigo” placed her on and gets to play a more realistic, flawed figure. And while it’s refreshing to see Eleanor Parker in anything beyond her thankless role in “The Sound of Music“, her overly dramatic work as Zosh is one of the reasons this film flirts with melodrama as often as it does.
  • To get around much of the more scandalous dialogue, there’s a lot of unspoken things happening between the lines. A few times throughout the movie, someone asks Frankie, “How are you? I mean -” followed by Frankie nodding his understanding while simply replying, “I’m clean.”
  • Sinatra is, of course, quite charming in this role. It takes an actor with that much charisma to make your feel for him when he hits rock bottom. The scene where Frankie finally relapses is a gut punch, amplified by an extreme close-up on Sinatra’s face as the soundtrack intensifies the main theme.
  • A hallmark of any low-budget production: plenty of single-take shots to save time on set (exquisitely orchestrated by Preminger’s go-to cameraman Sam Leavitt). One of the more unfortunate side effects to this, however, are the frequent appearances by the camera’s shadow at the bottom of the screen.
  • This film would pair well with fellow NFR entry “On the Bowery“. You could swap either movie’s background characters and not notice.
  • Today in workaround censorship: “You miserable piece of humanity”. Subtle.
  • The bandleader at Frankie’s audition is real-life jazz musician and arranger Milton “Shorty” Rogers. He is no actor, and it deflates what is an otherwise heartbreaking scene.
  • [Spoilers] As is often the case with Code era films, the movie starts to go off the rails the more it deviates from its source material. In the novel, Frankie does in fact kill Louie, and his run from the police ultimately leads to his suicide in a flophouse. The film opts to make Zosh the unintentional murderer, as well as making her paralysis a manipulative charade rather than psychosomatic. It definitely robs the film of its drama, and the obviously fake dummy of Louie as he falls does not help.
  • Being more familiar with Sinatra’s Vegas/”Chairman of the Board” years, it’s so odd watching him play someone who lacks any control in his life. Frankie’s struggle to go cold turkey at the end is harrowing to watch.

Legacy 

  • Despite the constant objections from the PCA during production, United Artists stood by “The Man with the Golden Arm”, with UA president Arthur Krim calling the film “one of the most important pictures ever handled by the company”, and publicly hoping the PCA would see the film’s “immense potential for public service”. Despite rumors that the PCA would revise their rules in the lead-up to their decision, the Code did not grant “Golden Arm” their seal of approval. More surprisingly, the National Catholic Legion of Decency (Hollywood’s other major censor hurdle) only gave the film a “B” or “morally objectionable” rating, marking the first time the Legion did not give a “C” or “condemned” rating to a film that didn’t receive a PCA seal. This slight discrepancy, mixed with several large theater chains showing “Golden Arm” despite its lack of PCA approval, led to a revision of the Production Code for the first time in over 25 years. Under these more relaxed provisions, “Golden Arm” received a PCA seal of approval in 1961 (along with “The Moon Is Blue”).
  • Otto Preminger continued his run of taboo-laden films throughout the ’50s and ’60s, including “Anatomy of a Murder” and “Advise and Consent”. Totally unrelated but equally noteworthy: Preminger played Mr. Freeze on two episodes of the ’60s “Batman” TV show. I can’t believe I’ve gone this long without mentioning that!
  • I can’t find any conclusive evidence that Ian Fleming named his 12th (and ultimately final) James Bond novel “The Man with the Golden Gun” after this movie, but it was published in 1965, so anything’s possible. The only thing I remember about the 1974 film adaptation is its catchy title song.

#594) The Last Waltz (1978)

#594) The Last Waltz (1978)

OR “Band’s End”

Directed by Martin Scorsese

Class of 2019

The Plot: Influential Canadian-American rock group The Band (Rick Danko – bass guitar, Levon Helm – drums, Garth Hudson – organ, Richard Manuel -piano, Robbie Robertson – guitar) gather together for one final concert on Thanksgiving Day 1976 at San Francisco’s Winterland Ballroom. Rather than treating the concert as a farewell performance, the Band opts for a celebration of their 16 years on the road, inviting an all-star lineup of artists to join them. In addition to the ’70s folk rock of The Band, “The Last Waltz” features performances by Ronnie Hawkins, Dr. John, Neil Young, Neil Diamond, Joni Mitchell, Paul Butterfield, Muddy Waters, Eric Clapton, Van Morrison, Bob Dylan, Ron Wood and Ringo Starr! And in the midst of all of this, Martin Scorsese and a murderers’ row of cinematographers capture the event and turn it into a cinematic experience.

Why It Matters: Oddly enough for a recent NFR entry, the official listing for “The Last Waltz” is brief and lacking in superlatives. The NFR write-up is mostly a description of the concert and its impressive roster of talent.

But Does It Really?: I dunno, I guess you had to be there? With all due respect to Martin Scorsese and The Band, I couldn’t get into “The Last Waltz”. I enjoyed the music, but this film didn’t carry its intended weight for me. “The Last Waltz” lacks the zeitgeist and iconic moments of “Woodstock” or “Monterey Pop“, and I don’t have the nostalgic lens as a viewer to understand the importance of The Band and this concert. I enjoyed “The Last Waltz” as a fun bit of ’70s rock, but I risk pissing off a lot of Boomers by questioning this film’s NFR standing.

Everybody Gets One: The Band began life in 1958 as The Hawks, backing up country singer Ronnie Hawkins. After backing up Bob Dylan on his mid-60s electric tour, The Hawks became The Band (stories differ on how exactly the name came to be) and recorded their first album “Music from Big Pink“. The album was a success, and The Band inspired generations of musicians with their melding of rock, folk, country, and R&B.

Seriously, Oscars?: No Oscar love for “The Last Waltz”. For the record, 1978’s Best Documentary winner was Arnold Shapiro’s “Scared Straight”, about the prison reform program that studies have shown isn’t very effective. 

Other notes

  • After 16 years of touring, Robbie Robertson was tired of being on the road. A recent boating accident involving Richard Manuel prompted the end of The Band’s live performances (although Levon Helm felt that Robertson forced the band’s early retirement). Invitations for both Ronnie Hawkins and Bob Dylan to perform at their final concert (already named “The Last Waltz”) snowballed into an overbooked concert that ran anywhere from five to seven hours (sources vary). Robertson had the idea to film the concert, and approached Martin Scorsese based on his rock soundtrack of “Mean Streets” and his work co-editing “Woodstock”. Scorsese accepted immediately and crafted a 300 page shooting script based around camera angles and lyrics in less than six weeks.
  • The opening text of the movie states “This Film Should Be Played Loud!” That’s all well and good, but I got neighbors all around me and walls like a ryokan. Not happening.
  • The Band’s cover of Marvin Gaye’s “Don’t Do It” was actually their final encore of the evening, but was moved to the beginning of the film, structuring the whole thing like a flashback. Sure, why not.
  • I’m gonna go ahead and declare the ’70s to be our hairiest decade in history.
  • Ronnie Hawkins makes a welcome appearance reuniting with his former backup, and does a mean cover of Bo Diddley’s “Who Do You Love?”.
  • I’ve always enjoyed the soulful, gravelly sounds of Dr. John, and I’m digging his sparkly jacket! Fun Fact: He was the inspiration for Dr. Teeth on “The Muppet Show”.
  • Neil Young does a lovely rendition of “Heartless” (with recent Kennedy Center honoree Joni Mitchell on backup vocals). It seems, however, that Young did not get the message that a southern man don’t need him around anyhow.
  • Weirdly, I don’t have much to say about The Band or their performance here. There’s a bit of disconnect not only between me and this movie, but also between the performers. The guest artists clearly have a lot of affection for The Band, but the actual Band members don’t seem to be having any fun in this. Maybe I’m sensing the growing discord between Robertson and his band mates? Or maybe they’re all on drugs.
  • I spent most of the film wondering “Did The Band have any songs I’ve actually heard of?” Turns out it’s “The Weight”, aka that “Take a load off” song. “The Weight” is one of a few songs filmed in-studio for this movie after the concert, giving The Band a chance to perform with gospel group The Staple Sisters, one of their many musical influences.
  • My Neil Diamond note simply reads “Neil Diamond?” Turns out Diamond and Robbie Robertson co-wrote “Dry Your Eyes”, which Diamond performs here, as well as on his then-recent album “Beautiful Noise”.
  • Shoutout to the film’s camera operators who helped bring Scorsese’s detailed vision to life – in one night! Michael Chapman (later of “Raging Bull“) was the head cinematographer, and the camera team on the ground included Vilmos Szigmond and Lásló Kovács. It’s fun watching these titans of Hollywood cinema running around in the background setting up and dismantling cameras.
  • Initially, Muddy Waters’ performance wasn’t going to be filmed, as this was a designated time for the camera crew to reload. Thankfully, Lásló Kovács took off his headset (he was tired of taking Scorsese’s orders), and missed the command, capturing Waters’ “Mannish Boy” in the process. Scorsese calls the song’s appearance in the film “just luck”.
  • I think it’s safe to say that Garth Hudson is the only rock organist of any notoriety. Chest Fever!
  • Interspersed throughout the concert are interviews with The Band in their Shangri-La recording studios in Malibu. Robertson is definitely the storyteller of the group, appearing more animated than his seemingly lackadaisical cohorts. Like the studio performances, the interviews were filmed after the concert; as evident by Robertson’s mention of Elvis’ death, which occurred nine months after “The Last Waltz”.
  • So that’s what Van Morrison looks like!
  • Special mention to Lawrence Ferlinghetti, poet and co-founder of San Francisco’s City Lights bookstore, who died earlier this year at the age of 101! Ferlinghetti appears in “Waltz” to recite his poem “Loud Prayer”, one of the few pieces of poetry from the concert to make it into the film.
  • I believe this makes three NFR appearances for Bob Dylan? At least he seems happy to be there, and I can understand what he’s saying! Dylan actually tried to back out of performing at the last minute, unaware that his appearance was the reason the film was financed to begin with. It took an intervention from venue owner BIll Graham for Dylan to take the stage.
  • The finale is an all-skate of Dylan’s “I Shall Be Released” with all of the evening’s performers, plus Ron Wood and Ringo Starr! Thanks to his appearance here, Ringo is the only Beatle on the National Film Registry. And “Last Waltz” is a lot easier to sit through than “Get Back“, let me tell you.

Legacy

  • “The Last Waltz” premiered in spring 1978 and was well received by movie and music critics alike. The most vocal dissent for this film came from Levon Helm, who wrote in his 1993 memoir “This Wheel’s on Fire” that he disapproved of the final film and its emphasis on Robbie Robertson.
  • Following the “Last Waltz” concert and their remaining studio album under contract with Capitol Records, The Band parted ways in 1977 and never performed again….until a year later when they reunited as an encore at a Rick Danko solo concert. The Band would start touring again in 1983 (minus Robbie Robertson) and would see a few personnel changes following the deaths of Richard Manuel and Rick Danko. The Band disbanded for good in 1999.
  • Scorsese would return to the world of rock documentaries a few times over the years, including the Rolling Stones concert feature “Shine a Light”, and two documentaries about Bob Dylan.
  • Perhaps the most fruitful outcome of “The Last Waltz”: Robbie Robertson has helped compose and/or compile music for such Martin Scorsese films as “Raging Bull”, “Gangs of New York”, and “The Irishman”

Listen to This: Unsurprisingly, practically everyone in “The Last Waltz” pops up on the National Recording Registry. Among their ranks: The Band, the Staple Sisters, Neil Diamond, Joni Mitchell, Muddy Waters, Emmylou Harris, and Ringo Starr. Honorable mention to Eric Clapton, who is sampled on Public Enemy’s “Fear of a Black Planet“. Van Morrison, Ron Wood and Neil Young are the most conspicuous absences from this group.

And with that, we conclude our own “Last Waltz” of 2021. As always, thank you dear reader for your continued support of “The Horse’s Head”, especially those of you who have been checking in for almost five years now! We’ll be taking time off for the holidays, and returning with new posts in January. Until then, be safe and take care of each other.

Happy viewing,

Tony

#593) The Navigator (1924)

#593) The Navigator (1924)

OR “We Ship That”

Directed by Donald Crisp and Buster Keaton

Written by Clyde Bruckman & Joseph Mitchell and Jean Havez

Class of 2018 

The Plot: Rollo Treadway (Buster Keaton) is a wealthy man who decides one day to propose to his neighbor Betsy O’Brien (Kathryn Maguire), not because of love, but rather just on a whim. When Betsy rejects his proposal, Rollo decides to still take the Hawaiian cruise he had already booked for them. Through a few comic misunderstandings, both Rollo and Betsy independently end up on The Navigator, a ship owned by Betsy’s father (Frederick Vroom) that is accidentally set adrift. Realizing they are lost at sea with only each other and no help in sight, Rollo and Betsy adapt to their new living situation through the kind of creative stunts and gags we have come to associate with Buster Keaton.

Why It Matters: The NFR cites the film’s historical significance and praises its “imaginative gags”. They also crib from Pauline Kael’s retrospective review of Keaton’s career, when she hailed this film as “[a]rguably Buster Keaton’s finest – but amongst the Keaton riches can one be sure?”

But Does It Really?: I’m willing to chalk this up to the historical significance of being Keaton’s first big hit, and while “The Navigator” is an inventive film with plenty of funny moments, I wouldn’t call it Keaton’s best or most memorable movie. Still, second-tier Keaton is better than most people’s best, so I have no objections with including “The Navigator” among the NFR’s Keaton collection.

Title Track/Every Ship Gets One: The Navigator of “The Navigator” was a real life cargo ship. Built in 1890, the SS Mississippi (later renamed the USAT Buford) lived many lives, providing supplies for San Francisco after the 1906 earthquake, transporting refugees out of Europe during World War I, and deporting 250 radicals (including Emma Goldman) out of America as the “Russian Ark”. After being sold to a private owner, the USAT Buford was discovered in a San Francisco shipyard by Keaton’s art director Fred Gabourie. Buford was rented, renamed The Navigator, and inspired Keaton to write his next screenplay.

Wow, That’s Dated: The natives that Rollo and Betsy encounter are your typical generic natives in the kind of limited roles available for Black actors in early film. Also very dated: a joke referencing the songs “Kiss Me Again” (from the operetta “Mlle. Modeste”) and “Alice, Where Art Thou?“

Other notes 

  • Shoutout to The Keaton Project. Created in 2015 by Italian film archive Cineteca Di Bologna, their mission is to restore all of Buster Keaton’s films from the 1920s. For this post, I watched their 2017 restoration of “The Navigator”.
  • Because it bears repeating: Betsy’s father is played by actor Frederick Vroom. Apparently the last name Vroom is an Anglo-Saxon name dating back to the 12th century, and comes from the Dutch word meaning pious or devout and not – as I had hoped – from the sound a race car makes.
  • As I’ve come to expect from Keaton’s films, even the intertitles are funny. “Every family tree must have its sap.” Well done.
  • This film has plenty of laugh-out-loud moments. The first big one for me is when Rollo is driven by his valet to see Betsy, who lives directly across the street. A hilarious visual, and social commentary to boot!
  • I still can’t get over that they used a real boat for this film, and were given carte blanche to do whatever they wanted to it. This does, however, confirm my theory that “The Navigator” is just a bunch of boat-related gags strung together. It’s a movie where the set-piece came first and the script second.
  • Rollo and Betsy spend a lot of time running around the boat trying to find each other. Surely they could have heard each other’s footsteps. The boat isn’t silent too.
  • The whole bit of Rollo trying to prepare his own meal for the first time is very funny, and very relatable (Trying to open a can and it breaks on you? Been there.) I laughed pretty hard at Rollo/Buster’s stoneface as he returns from, shall we say, “losing his lunch”.
  • Tip of my hat to Kathryn McGuire, re-teaming with Keaton after playing his leading lady in “Sherlock Jr.“, and quite an adept physical comedian herself. She more than holds her own with Keaton, gamely being dragged around, dangled from ropes and so on. Who knows how big McGuire could have gotten if Hollywood had given her half a chance.
  • Yes, this film’s co-director is the same Donald Crisp who would later be an Oscar-winning character actor in MGM’s staple of stars. A prolific director throughout the silent era, Crisp was brought on “The Navigator” to direct the more dramatic scenes. Crisp, however, wanted to contribute more on the comedic scenes, which were (obviously) Keaton’s domain. This – mixed with his scenes being deemed overdramatic – led to Crisp leaving the project and Keaton reshooting most of Crisp’s scenes himself. Crisp still appears in the final film: he’s the grizzled captain in the portrait that Rollo mistakes for an intruder.
  • Another dated song reference: the pseudo-sea shanty “Asleep in the Deep“, aka “That song Goofy randomly sings in a few cartoons”.
  • Rollo may have invented the first in a long line of Rube Goldberg-style breakfast machines in movies. This movie crawled so “Pee-wee’s Big Adventure” could walk.
  • I’m a sucker for old-timey diving suits. They just seems so bulky and hindering for underwater exploration. Rollo dons the gear for an extended underwater sequence, filmed partially in a large tank in Los Angeles, and partially in Lake Tahoe. Take that, “Twenty Thousand Leagues“.
  • Okay, that octopus is clearly crawling on a plate of glass in front of the camera. This is some straight-up Ed Wood nonsense.
  • Oof, these native stereotypes are brutal. Now we know why no one mentions this movie anymore.
  • “The Navigator” is one of the rare movies with a “submarine ex machina” (“Deus ex aqua-na”? I’ll workshop it). This does lead to what is probably the film’s most memorable gag, when Rollo accidentally leans on a large lever, causing the ship (and the entire scene) to rotate a full 360 degrees. It’s an impressive stunt, I just wish the rest of the movie worked its way up to that better.

Legacy 

  • “The Navigator” was Buster Keaton’s fourth feature-length film and, more importantly, his first hit. With “The Navigator”, Keaton began to earn the audience and critical reception that would cement his legacy as one our finest film comedians.
  • After “The Navigator”, the real Navigator returned to civilian life, until its final voyage to Japan in 1929 to be scrapped for parts.
  • Having now seen “The Navigator”, I wouldn’t be surprised if Keaton’s 1928 follow-up “Steamboat Bill Jr.” was an excuse to use all the boat gags he couldn’t fit into this movie.
  • As for the film’s ongoing legacy, there’s not a lot of references to “The Navigator” specifically; usually just mentions in conjunction with Keaton’s more iconic films. I dunno, can I use this film as an excuse to reference “Flight of the Navigator”? Remember that movie?