Reel Infatuation Blogathon 2017 – Westley in “The Princess Bride”

When I discovered that this blogathon existed, I was extremely interested but also a little bewildered! I am a massive movie lover, and it was therefore very difficult to decide which character infatuation to write about. In the end, I finalized my choice based on bravery, intelligence, sportsmanship, wit, looks (yes, I am shallow), and romance. Farm Boy/Westley/Dread Pirate Roberts played by Cary Elwes in one of the most magical films of all-time, The Princess Bride, just has to be my favourite reel infatuation!

This medieval storybook tale begins with Westley as “Farm Boy”. He is the farm hand to the very bossy Buttercup (Robin Wright). Despite the seeming power imbalance, the two captivate one another. I find Westley’s naivety at this point quite endearing, but it is very evident that he has much growth and evolution in his future. He subsequently embarks on a journey from boyhood to manhood, and we witness the results in due course…

Fast forward five years where Buttercup is now in the menacing arms of Prince Humperdinck (Chris Sarandon). The supposed “Dread Pirate Roberts” interrupts the highly orchestrated kidnapping of Buttercup, encountering some of the most memorable characters in movie history. However, the viewers come to quickly realize that “Dread Pirate Roberts” is not the dread pirate at all, but is … Westley! An inconceivable battle of wits, swashbuckling, a journey through the aptly-named Fire Swamp, and a “to the pain!” declaration allow us to witness the evolution of Westley. His devotion for Buttercup though is one of his most attractive qualities, enduring multiple hardships and being nearly dead in his quest for love and justice. As we wish, he is the ultimate embodiment of swoon-worthiness and idealism in a partner in crime or life.

I do not own the photos in this post. Also, this post is a part of the Reel Infatuation Blogathon hosted by A Small Press Life and Silver Screenings! Please take a look at other awesome posts this weekend related to movie, TV, and literary characters that make us blush!

 

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Meet Me in St. Louis (1944)

“Home is where the heart is”, as the age-old saying goes. Some associate “home” with dread, anguish, and fear while others relate familiarity, comfort, sentimentality, pride, and a sense of belonging to the term. Growth and change can allow one to bloom beyond their comfort zone, but the idea of uprooting from home may arise trepidation. The development of relationships, a career, and overall support is often cultivated in one location designated as home, and the thought of potentially starting anew is daunting. The vibrant 1944 Technicolor musical Meet Me in St. Louis directed by Vincente Minnelli delves into these apprehensions among an upper-middle class family in the face of starting a new life in the Big Apple.

The film begins during the carefree summer of 1903 in St. Louis, Missouri. The Smith family children are enjoying the freedom and joviality of summer, counting down to the 1904 World’s Fair. Their father Lon Smith (Leon Ames) drudges through daily life as a lawyer in a downward career cycle. The proposition of success as a lawyer in New York prompts Lon to instruct the family in a highly patriarchal manner that they will be leaving their beloved St. Louis to begin a new life in New York. Meanwhile, wife Anna (the highly versatile Mary Astor) has created strong roots in this community in raising their children. Eldest daughters Rose (Lucille Bremer) and Esther (the always magnificent Judy Garland) have romantic involvements and educational prospects in St. Louis. Esther is particularly fond of the “boy next door” John Truett (Tom Drake). The younger bratty daughters Agnes (Joan Carroll) and Tootie (Margaret O’Brien) advocate in favour of staying to continue their obscene and inappropriate pranks. Eldest son Lon Jr. (Henry H. Daniels Jr.) is already in college at this point, having begun exploring life beyond St. Louis. As the seasons advance towards the once prospectively exhilarating Fair, an aura of despair looms through this observed upbeat, decadent, colour-saturated world.

This film is undoubtedly a quintessential musical. The musical numbers are highly memorable and vibrant, with “The Trolley Song”, “The Boy Next Door”, and the classic “Have Yourself A Merry Little Christmas” being among the fabulous roster of songs. The propelling of popularity and timelessness of these songs are mainly due to Judy Garland’s exquisite and astute vocals, expressing every emotion necessary in a very genuine manner. Vincente Minnelli’s careful direction showcases Garland’s talent but also allows the viewer to feel great compassion for the Smith family. I must also mention the beautiful costumes, embodying the fashion of the early 1900s. Overall, romance, drama, teenage troubles, and childhood woes all captivate in this wonderful film, which is ultimately an ode to the glory and connection of home. This love, joy, and adoration for St. Louis are expressed within the film’s title and eponymous initial number.

I do not own the pictures in this post. As well, this post is part of the Judy Garland Blogathon hosted by In The Good Old Days Of Classic Hollywood. Please check out the other awesome posts honouring the amazingly talented and legendary Judy Garland!

 

Day 1 Recap – Medicine in the Movies Blogathon!

There have been a multitude of excellent and informative posts today about medicine and its incorporation in films! I have greatly enjoyed reading them, and look forward to the next two days of posts. Here is a list so far of the bloggers and posts related to the blogathon’s theme!

Thoughts All Sorts – Tombstone (1993)

For The Love of Movies – Contagion (2011) & Persona (1966)

Movie Movie Blog Blog – A Day at the Races (1937)

Silver Screenings – Night Nurse (1931)

Picture Show Girl – High and Dizzy (1920)

Maddylovesherclassicfilms – The Nun’s Story (1959)

Realweegiemidget Reviews – K-PAX (2001)

Critica Retro – A Farewell to Arms (1932 & 1957)

The Motion Pictures – Eyewitness (1956)

Sean Munger – Reversal of Fortune (1990)

Listening to Film – Coma (1978)

and…

Yours Truly! – A Woman Under the Influence (1974)

Stay tuned for tomorrow’s recap of blog posts related to Medicine in the Movies!

I do not own any of the pictures in this post.

Libeled Lady (1936)

All individuals find themselves in precarious situations from time to time. These embarrassing events may be completely unexpected, but more often than not there were precipitating instances leading to this specific moment in time. One’s wit, pride, righteousness, as well as their negotiation skills and shrewdness with other players shapes further twists and turns in this scenario, especially the outcome and potential lessons learned. Screwball comedies embody this overall comedy of errors, and the 1936 screwball Libeled Lady directed by Jack Conway with an all-star cast does this splendidly.

Warren Haggerty (Spencer Tracy) is the managing editor of the New York Evening Star, a frenetic newspaper trying to obtain the latest scoop like all of the other competitors. Both he and his lovely fiancee Gladys Benton (Jean Harlow – my absolute favourite actress) are getting dressed for the wedding and are heading to the church. On that same day, a false story is posted about a wealthy socialite’s role in dissolving a marriage. Connie Allenbury (Myrna Loy) becomes the “libeled lady”, suing the paper a whopping five million dollars for libel! At this moment, Haggerty makes a beeline to the newspaper, leaving Benton extremely angry and hurt over his decision yet again to prioritize his work over her needs.

So, Haggerty has made his decision to deal with the needs of the newspaper. He feels as if he has to quickly use his noggin to persuade Allenbury to drop the suit. His old colleague and foe, the ever so suave and single Bill Chandler (William Powell), becomes involved in this cantankerous scheme at the pleading of Haggerty. Chandler’s role is to convince Allenbury to fall in love with him but to be caught scandalously with her by his wife. Who becomes his wife, you ask? None other than Benton! She obliges at the cajoling of her beloved fiance so that he can save face. As Haggerty says, “she may be his wife but she’s engaged to me!” As you may guess, much humour and tomfoolery ensues!

This film has so many twists and turns throughout the plot’s plethora of deceptive arrangements, shifting attractions, and discontentments. It ensues to reach an emotionally intense yet hilarious finale. As with all screwballs, sharp repartee, a grand battle of the sexes, and memorable scenes (especially the greatest fishing scene in the history of cinema) are weaved throughout the film.

The electric cast and star power amplifies the film’s wit, storyline, and chemistry. All of the stars had contracts with Metro Goldwyn Mayer during the studio system era, and it was therefore much easier to create a vehicle with this star power fuelling the engine. It was Myrna Loy and William Powell’s fifth film together out of fourteen collaborations throughout their careers. While it was no secret that Powell and Harlow were a couple at the time, the studio pushed for another coupling of Loy and Powell secondary to their box office success. Either way, the winning screwball formula of this film created the impetus for a Best Picture nomination at the 1937 Academy Awards.

It is no doubt that screwball comedies are a true joy to inhabit and experience as a viewer. However, I feel as if this film and many other screwballs convey themes and messages that grapple with struggles at the core of humanity. Relationships are constantly tested in this genre of film, which is a fear yet reality of the human experience. As well, the division between social classes is a common theme. In this film, a man of the working class tries to undermine rich elitists. Variations of this plot device are present in many screwballs, which was quite reflective and contemporary to many in the Great Depression era. Therefore, I believe that great comedy can touch audience’s lives not just through humour but with a high degree of familiarity to our struggles and also our greatest delights.

I do not own any of the photos in this post. As well, this post is part of the “Addicted to Screwball Blogathon” hosted by Pfeiffer Pfilms and Meg Movies! Please check out the other posts over the next day related to other fabulous screwball comedies!

 

Random Harvest (1942)

Memories based on everyday and momentous experiences form the basis of human development and identity. Their formation and foundation can create an environment of empowerment and growth of knowledge. Conversely, their presence can sometimes traumatize and significantly regress one’s path to self-actualization. The wish to eradicate some painful memories has been held by all at some instance. However, I could not fathom anyone yearning to erase joyful recollections imprinted for years in their brains. Some individuals living with neurocognitive disorders, such as Alzheimer’s Disease, are robbed of the grandest and most beautiful memories with no mercy. Random Harvest is a 1942 drama-romance film directed by Mervyn LeRoy which explores the potentially devastating effects of memory loss on individual identity and surrounding relationships.

“John Smith” (Ronald Colman) has been hospitalized at Melbridge County Asylum for over a year following his harrowing experiences on the battlefield of WWI. His diagnosis would fit with post-traumatic stress disorder (PTSD), but he has dissociated from the raw emotions of his experiences to the point where he cannot remember his own identity. While wandering away from the psychiatric facility on the night of WWI’s end, he meets Paula Ridgeway (Greer Garson) in the town of Melbridge. She is a local actress and dancer who empathizes with “Smithy” to the point of finding a home in the countryside to escape authorities and unwitting family members. As in many classic films, the two rapidly fall in love and marry. Smithy’s newly discovered writing talent blossoms into a job proposal, but a head injury inflicted via automobile accident allows Smithy to remember and slide into his previous life as the wealthy Charles Rainier. Paula is inevitably obliterated from his memory with few reminders of her once great impact. Themes of abandonment, jealousy, anger, detachment, frustration, and never-ending hope engross the remaining intertwining journey of our lead characters. This leads to an ultimate tear-jerking finale which will melt even the coldest, steel-engulfed hearts.

“Random Harvest” is an interesting and multi-faceted title for this film. Paula and Smithy meet during the typical harvest season (Autumn) randomly it seems in a tobacco shop. The estate to which Charles Rainier and his siblings are entitled is called “Random Hall”. Separately, these words and their place in the film could definitely account for its title. However, the definition of the word “harvest” lends to growth and cultivation, which is what led to Paula and Smithy’s glorious bond and millions of other relationships. As well, the two were randomly brought together, and their relationship was randomly taken away. Hence, their growing interconnected maturation was inadvertently interrupted for varying reasons. Others may beg to differ, citing that no event or association is truly random. Regardless, the atrocity of the events occurring in these characters’ lives is incomprehensible, and we greatly empathize with them.

These drastic impediments yet intermittent delights in the film create a harrowing atmosphere leading viewers to the edge of their seats, fabricating major peaks and valleys of emotion. Our own fears and relatedness to memory heightens the concern and sentimentality in the film. We feel overwhelmed, frightened yet optimistic for the characters’ resolutions. Overall, I feel that “tear-jerker” is an understatement for this beautiful film.

I do not own the photos in this post. As well, this post is a part of the “No, YOU’RE Crying” Blogathon hosted by Moon In Gemini! Please check out the other posts related to tear-jerker films over the coming days!

 

 

The Cook, the Thief, His Wife, & Her Lover (1989)

The unfortunate reality of oppression and tyranny continues to reign in various facets of society, from households to governments. The sheer bravado, sense of entitlement, and perception of power that shrouds those in control creates an alternative truth from the actualities of the world in which they live. All of this heightened greed serves to further destroy and suppress the desires and wishes of those dependent on these deemed leaders. However, borne from this suffering often comes protest, revenge, and ultimately poetic and social justice. “The Cook, the Thief, His Wife, and Her Lover” is a delicious (no pun intended) satire directed by Peter Greenaway which addresses this common historical tale with style, wit, dark humour, and vengeance.

The title is most appropriate for the film, as the crux of the story revolves around the four aforementioned characters. Richard Boarst (Richard Bohringer) is the devoted and knowledgeable head chef of the prestigious “Le Hollandaise” restaurant. He is overrun and owned by the ruthless, bolstering, and possessive buffoon, Albert Spica (Michael Gambon). Spica frequents the restaurant every night with his band of unmerry men (quite the opposite of Robin Hood) whereby he abuses any customer, friend, or foe who slightly displeases him. His classy yet unfortunate wife, Georgina (the fabulous Helen Mirren), is trapped in a highly abusive marriage, yearning for a means to think and act for herself. Along comes Michael (Alan Howard), a bookkeeper who frequents the restaurant as well and who also catches the eye of Georgina. They begin having a torrid affair during bathroom breaks and in the kitchen with Richard’s aid in concealing the lust. This is amidst Albert’s complete oblivion to his wife’s inner torture in their marriage. Brutality, increasing deception, literary attentiveness, and the stripping of innocence subsequently occur, culminating in a disturbing yet just finale.

I must mention the glorious set design and cinematography of the film, which I feel further highlights many themes in the film. Firstly, the camerawork is so fluid, gliding from intense, violent imagery to more still and orderly surroundings with gradual, smooth transitions between the scenes. The warehouse design of the kitchen and decadence of the restaurant accents the large class divide and inequities between those served and those being served. The stark white bathrooms represent sanctuary and momentary purity from the stresses of life. The harsh and bright red shades in the dining room are quite intense, showcasing fear, control, anger, and bloodshed. I feel that the calmness of the blues and greens within the kitchen emphasizes the community and loyalty amongst the staff, their strength, and fortitude. While Albert threatens to crumble and invade the white, green, and blue settings, the resiliency of the seemingly “lower class group” and the empowering and fearless Georgina rise to combat his power. Overall, I feel that this film is a perfect blend of genres and use of environmental surroundings showcasing the importance of defending human rights and equity for all in the face of utter repression.

I do not own the above image.

Our Hospitality (1923)

Politeness often paves the way for the introduction and growth of social and even business-focused relationships. The tourism industry is founded on this idea. As more personal relationships flourish, uncomfortable undercurrents and animosity may begin to slowly emerge. However, there may be situations whereby a facade of civility and amicability masquerades perceived genuineness from the beginning. Friction is quite apparent from day one, and should be tackled to recognize any impending conflict. The principle of irony in kindness is explored in Buster Keaton’s 1923 classic, “Our Hospitality”.

The story commences in 1810 with a longstanding, foolish feud between the Canfield and McKay families. One night, one member in each family kills each other out of pride and spite. One of these individuals is John McKay (Edward Coxen), the father of young Willie McKay (Buster Keaton Jr.). For protection of the boy, Willie and his mother (Jean Dumas) move to New York City. Flash forward twenty years later whereby an adult Willie (Buster Keaton Sr.) receives a letter that he is set to inherit his father’s property. He must return to his former home to obtain this real estate, but is finally educated about the feud by his Aunt Mary (Kitty Bradbury). He is warned to never interact with the Canfield family. During the extremely complicated train travel equipped with absent and route-changing train tracks, Willie meets a charming young lady (Natalie Talmadge, Keaton’s wife). Unbeknownst to him, her surname is … Canfield! Obliviousness, determination, deception, and farce ensue in his pursuit to court her while avoiding death by the hands of her male family members.

This slapstick comedy has all of the goods – incredible gags, death-defying stunts, and a great deal of heart. In my opinion, the most memorable gags in this film are crafted with waterfalls as the central point. This setting can be quite dangerous, and Keaton did not use stunt doubles in filming these scenes. I viewed this film with extreme awe knowing that his creativity and bravery perpetuated great innovation amongst all in the film world. Furthermore, I feel that the involvement of Keaton’s wife, son, and father greatly enhances the sentimentality and raw emotionality within the film. While the Canfields were less than hospitable towards Willie McKay, Keaton’s hospitality definitely shone through in the fruition of this wondrous masterpiece.

I do not own the above image.

Here is one such amazing clip related to the waterfall stunts in this film. It definitely took a lot of co-ordination, trust, and fearlessness to execute this scene.

This post is part of the Third Annual Buster Keaton Blogathon hosted by Silent-ology. There are lots of great posts paying tribute to this pioneer of comedy!