Archie Savage Movies

Leave it to iconoclastic Italian filmmaker Pier Paolo Pasolini to make a feature-length movie out of his production notes! Fascinated by the ancient Greek legend of Orestes, Pasolini travels not to Greece but to Africa. Here he films background footage of tribal customs and rituals, vaguely intending to use these shots for a film about an "African Orestes." That picture is never made, but what he winds up with is fascinating enough to compensate for the loss. The film's original Italian title was Appunti per una Orestiade Africana. ~ Hal Erickson, All Movie Guide

Also known as Snow Devils and Devil Men From Space, this Italian melodrama is a muddled mixture of two popular film genres. Part of the story is given over to a search for the destroyers of a Himalyan weather station. When the search party reaches their destination, they are captured by what seems to be a tribe of abominable snowmen. We soon learn that the blue-tinted beasties are actually the vanguard of an invading army of extraterrestrials. Heading the cast of Snow Demons are Jack Stuart (also known as Giacomo Rossi Stuart) and Amber Collins (aka Ombretta Coli); the director was Anthony Dawson (aka Antonio Margheriti; do we detect a pattern here?) The film was originally released as I Diavolo della Spazzio. ~ Hal Erickson, All Movie Guide

This 153-minute Biblical epic about salt and sin is directed by Robert Aldrich and has enough dynamic interactions between its chief protagonists to sustain interest in-between climactic scenes. Stewart Granger is Lot, the Hebrew leader who takes his people to camp in the Valley of Jordan only to find that they are caught between the Helamites on the one hand, and the wicked Queen Bera (Anouk Aimee) on the other. She rules over the twin cesspools of Sodom and Gomorrah and is beleaguered by a crafty brother who wants the scepter she now wields. The Queen makes a pact with Lot that he can stay with the Hebrews in the valley as long as he defends it -- she wants to use him and the Hebrews as a first line of defense against the Helamites. To seal the pact, she gives Lot her best slave Ildith (Pier Angeli) to be his wife. Adventures and excitement prevails as Lot and the Hebrews brave one challenge after the other -- until Lot realizes that his people are being corrupted by the environment of Sodom and Gomorrah and eventually receives a Divine vision and knows he has to lead the Hebrews away from here. Special effects are impressive and take much of the impact away from the fate of Ildith, as she turns one last time to look back at the crumbling cities. ~ Eleanor Mannikka, All Movie Guide

In one of the most widely seen and acclaimed European movies of the 1960s, Federico Fellini featured Marcello Mastrioanni as gossip columnist Marcello Rubini. Having left his dreary provincial existence behind, Marcello wanders through an ultra-modern, ultra-sophisticated, ultra-decadent Rome. He yearns to write seriously, but his inconsequential newspaper pieces bring in more money, and he's too lazy to argue with this setup. He attaches himself to a bored socialite (Anouk Aimée), whose search for thrills brings them in contact with a bisexual prostitute. The next day, Marcello juggles a personal tragedy (the attempted suicide of his mistress (Yvonne Furneaux)) with the demands of his profession (an interview with none-too-deep film star Anita Ekberg). Throughout his adventures, Marcello's dreams, fantasies, and nightmares are mirrored by the hedonism around him. With a shrug, he concludes that, while his lifestyle is shallow and ultimately pointless, there's nothing he can do to change it and so he might as well enjoy it. Fellini's hallucinatory, circus-like depictions of modern life first earned the adjective "Felliniesque" in this celebrated movie, which also traded on the idea of Rome as a hotbed of sex and decadence. A huge worldwide success, La Dolce Vita won several awards, including a New York Film Critics CIrcle award for Best Foreign Film and the Palme d'Or at the Cannes Film Festival. ~ Hal Erickson, All Movie Guide

Producer/director Joshua Logan's long-awaited filmization of Rodgers & Hammerstein's Pulitzer Prize winning musical South Pacific was not the classic that everyone hoped it would be, principally because of some curious creative choices made by the production personnel. Adapted from James A. Michener's best-selling novel Tales of the South Pacific, the film stars Mitzi Gaynor as WAVE officer Nellie Forbush, who while stationed overseas during World War II falls in love with wealthy French planter Emile De Becque (Rosanno Brazzi). The Navy would like DeBecque to help them in a reconnaissance mission against the Japanese, but he refuses; having run away from the outside world after killing a man in his home town, De Becque sees no reason to become involved in a war which he did not start and in which he has no interest. But when Nellie, her inbred bigotry aroused when she discovers that Emile has two mixed-race children, refuses his proposal of marriage, DeBecque, having nothing to lose, agrees to go on the mission. His partner in this venture is Lt. Joseph Cable (John Kerr), who like Nellie is a victim of prejudicial feelings; Cable has previously thrown away a chance at lasting happiness by refusing to marry Liat (France Nuyen), the dark-skinned daughter of Tokinese trader Bloody Mary (Juanita Hall). When Cable is killed and DeBecque is seemingly lost in battle, Nellie, realizing the stupidity of her racism, prays for Emile's safe return. The dramatic elements of South Pacific are offset by the low-comedy antics of "Big Dealer" seabee Luther Billis (Ray Walston). Outside of Walston and Hall, both repeating their stage characterizations, South Pacific suffers from a largely noncharismatic cast. Mitzi Gaynor never rises above cuteness in the difficult role of Nellie Forbush, while Rosanno Brazzi (whose singing is dubbed by Giorgio Tozzi) seems to be striking poses rather than acting as Emile DeBecque. These casting deficiencies might have been ignored had not South Pacific been laboring under an additional handicap: director Joshua Logan's decision to use colored filters in several key scenes, representing the emotions experienced by the actors. The constant color shift is more unsettling than attractive, drawing attention to Logan's technique and thereby taking the audience "out" of the picture. With all this going against it, however, South Pacific has much to be treasured. For one thing, all of Rodgers & Hammerstein's immortal songs--"Some Enchanted Evening," "Bali H'ai," "There is Nothing Like a Dame," "I'm in Love With a Wonderful Guy," "Younger Than Springtime" etc.--are retained, and, as a bonus, a song cut from the original stage production, "My Girl Back Home," is revived herein. In addition, the film is a bonanza for movie buffs who enjoy playing "spot the bit player:" among the supporting-cast ranks are Tom McLaughlin, Ron Ely, Doug McClure, John Gabriel and James Stacy (rumors persist that Joan Fontaine shows up unbilled as a nurse, but we've yet to spot her). Though artistically disappointing, South Pacific ended up one of the biggest box-office gold mines of the 1950s. ~ Hal Erickson, All Movie Guide

Vincent Sherman replaced an uncredited Robert Aldrich as director of this noirish and atypically pro-union film from the 1950's. Tulio Renata (Robert Loggia), an organizer for the International Ladies Garment Workers Union, campaigns to unionize the employees of dress factory owner Walter Mitchell (Lee J. Cobb). Viscerally opposed to the union, Mitchell has hired Artie Ravidge (Richard Boone) to thwart Renata's efforts. In a complex oedipal sub-plot, Walter's son Alan (Kerwin Matthews) returns home and joins the firm following the suspicious death of his father's partner. Alan is more sympathetic to the union and attempts to persuade his father to sign a contract. Only after Ravidge kills Renata, and the elder Mitchell finally admits to himself that Ravidge is a thug who also killed his partner, does he agree to negotiate with the union. Before he can do so, however, he, too, is murdered by Ravidge's goons. It is then left to Alan, increasingly involved with Renata's widow Theresa (Gia Scala), to run the business, bring Ravidge to justice, and settle with the union. Similar to Herbert Biberman's Salt of the Earth (1954) in its overt support of the labor movement, The Garment Jungle is clearly a liberal, not a radical, film. Rather than advocate class warfare, it asserts that honest unions and decent capitalists can work together honorably. The film's real fire is found in the personal conflicts between Tulio and Theresa and Walter and Alan. Cobb, Loggia, and Scala perform with intense and multi-dimensional passion. Particularly noteworthy is Theresa's fury at her husband for taking excessive, and ultimately fatal, risks. ~ Steve Press, All Movie Guide

Produced by Burt Lancaster's own company, Vera Cruz teams Lancaster with the venerable Gary Cooper. The story, set during the Mexican revolution of 1866, casts Coop and Lancaster as Ben Trane and Joe Erin, two rival soldiers of fortune who team to fight for the highest bidder. The two men come to loggerheads when Trane's sweetheart Nina (Sarita Montiel) begs them to fight on the side of the rebels, while the wealthy Marquis de Labodere (Cesar Romero) implores them to offer their services to Emperor Maximillian. Though they still haven't taken sides, Trane and Erin agree to escort the aristocratic Countess Marie Duvarre (Danielle Darrieux) through hostile territory to Vera Cruz. It soon develops that the Countess is transporting a gold shipment to the Emperor's armies. Hardly the most patriotic of souls, she offers to split the gold with Trane and Erin, but they steal it for themselves instead. It takes a while (and several bloody armed confrontations) before the two protagonists do The Right Thing. While it's fun to watch Burt Lancaster try to upstage the taciturn Gary Cooper, the film's best line goes to supporting player Henry Brandon: impassively watching the loutish Lancaster wolf down his dinner and slop wine all over his blouse, Brandon says calmly "Be careful, senor. Some of it is getting in your mouth." ~ Hal Erickson, All Movie Guide

MGM knew it would take a bath on its all-black musical Cabin in the Sky (few Southern theaters of 1943 would touch the film), but the studio still provided its standard A-plus production values to the film; besides, it served as a training ground for up-and-coming director Vincente Minnelli. Based on the Broadway musical by Lynn Root, John LaTouche, and Vernon Duke, the film tells the story of Joe (Eddie "Rochester" Anderson), a shantytown denizen torn between the affections of faithful wife Petunia (Ethel Waters) and slinky seductress Georgia (Lena Horne). Seriously injured in a barroom brawl, Joe dreams that he is the centerpiece of a celestial power struggle between a heavenly emissary (Kenneth Spencer) and Lucifer Jr. (Rex Ingram, who ironically had played "De Lawd" in The Green Pastures). Joe is given another chance to redeem himself on Earth, lest he fall into the clutches of the Devil's little boy. Louis Armstrong briefly shows up, appropriately cast as "The Trumpeter." Song highlights include "Taking a Chance on Love," "Happiness Is Just a Thing Called Joe," "Life's Full of Consequences," and the title song. A troubled production thanks to the on-set rivalry between Ethel Waters and Lena Horne, Cabin in the Sky is nonetheless an excellent first feature effort from Vincente Minnelli. Thanks to his careful treatment of the material, the expected patronization of the black characters does not impede latter-day enjoyment of the film as much as it might have. ~ Hal Erickson, All Movie Guide