Preston Sturges wrote and directed some of Hollywood’s greatest comedies, specializing in wickedly sharp satires like “The Lady Eve” and “Miracle of Morgan’s Creek.” But the first of his screenplays to be produced was this bittersweet Christmas romance about a beautiful shoplifter (Barbara Stanwyck) and a tough prosecutor (Fred MacMurray) (they also co-starred in the film noir classic “Double Indemnity”). He realizes that if he allows her to be sentenced just before Christmas the judge will be lenient. So he ends up bringing her home with him for the holidays. She sees in his family the kindness and generosity she never had as a child and he sees her true spirit bloom when is she treated with respect and affection. It is not available on DVD but will be broadcast on Turner Classic Movies three times this month: Dec 13, 06:00 PM, Dec 24, 11:15 PM, and Dec 25, 06:15 AM.
Van Johnson, one of the best light comedian/song and dance men of the 1940s-50s, died this week at age 92. His boyish, All-American good looks made him a popular choice for musicals, romantic comedies, and some dramatic roles as well. He was so well known as the ideal boy-you-wish-lived-next-door performer that Cole Porter included him in the lyrics of his song “Give me a Primitive Man.”
Johnson could play a lead but he was better as a wise-cracking wingman for Gene Kelly in Brigadoon and Henry Fonda in Yours, Mine and Ours. My favorite Van Johnson performances include In the Good Old Summertime, opposite Judy Garland in the musical pre-“You’ve Got Mail” remake of “The Shop Around the Corner,” about the two warring music store employees who don’t know that they are real sweethearts through an anonymous letter exchange. I also love the neglected gem “Wives and Lovers,” which has a wonderful scene where he watches with combined fascination and horror as his daughter makes her lunch. Johnson was not the best singer, dancer, or actor but he was fun to watch because he was so comfortable and natural on screen and always looked like he was having a good time.
And I love this little dance number from “I Love Lucy.”
Theme of possible world destruction, guns, sci-fi violence
Diversity Issues:
None
Date Released to Theaters:
1951
Date Released to DVD:
2008
Amazon.com ASIN:
B00005JKFR
In the 1951 version of The Day the Earth Stood Still, a spaceship landed in front of the Washington Monument to warn the people of earth that they were on the path to destruction. The problem then was the Cold War and nuclear arms race. In 2008, the remake has a space orb land in New York City and once again a humanoid-looking creature from another planet comes to earth because of another impending doom. “If the Earth dies, you die,” he says. “If you die, the Earth survives.”
Jennifer Connelly, who seems to enjoy sharing the screen with super-smart crazy guys (“A Beautiful Mind,” “Hulk”), plays Helen, a scientist brought in to try to help assess the threat level from the two beings to come out of the orb. The first would have done better to have had a scientist to assess his own threat level because as soon as it stepped out of the orb someone shot him. The second is a silent, colossus-like giant of a robot with an ominous glow through the eye-slit, standing as sentry.
Klaatu has assumed human form (Keanu Reeves) so that he can speak to the world leaders at the UN. But a suspicious Secretary of Defense (Kathy Bates) decides to treat him like a galactic terrorist, so soon Klaatu, Helen, and her stepson (Jaden Smith, the son of Will Smith and Jada Pinkett Smith), are on the run. They make the obligatory visit to the Wise Man in the Woods (John Cleese, terrific as a Nobel award-winner for “altruistic biology”) and try to evade the efforts of military and law enforcement to capture them while Helen tries to demonstrate that humans are worth saving.
Director Scott Derickson is a committed Christian, and he has given the original story themes of sacrifice and redemption that will resonate with those who are open to a spiritual message. There is a reference to Noah’s Ark. Klaatu has the power to heal. He brings a dead man back to life and even walks on water. The most important themes are deeply spiritual as well, stewardship, respect for the interdependence of all things, and hope.
David Thomson is one writer whose appraisals are as riveting and entertaining as the films and performances he describes. His The New Biographical Dictionary of Film is one of the dozen or so indispensable reference works every film fan needs.
His latest book is “Have You Seen . . . ?”: A Personal Introduction to 1,000 Films. He does not waste time trying to be too specific or consistent about his guidelines (okay, so “Monty Python” and “The Sopranos” are television programs, not movies, they’re still must watching) and thank goodness he does not try to rank anything. That does not mean you won’t find something to argue with. But it does mean that the arguments it sparks will be a lot of fun. Critics are cranky. But crankiness can be a lot of fun. Whether he included or dissed your favorites, it cannot be denied that every movie on his list is worth seeing and every entry in this book is worth reading.