The Beguiled

(1971)

"The Beguiled" is one of my favorite Clint Eastwood films, and a departure from his typical early roles. Directed by Don Siegel, with whom Eastwood collaborated on several films, it was made a year before Eastwood's directorial debut with "Play Misty For Me". An alternate title considered for the film was "Pussy-Footing Down At The Old Plantation", which thankfully was not used, otherwise I am sure raunchy jokes about the fact that it takes place at a girls' school would be difficult to avoid. I first saw this movie in one of my college film classes in the mid-1970's, and was immediately taken with it. I only had an old battered VHS tape of it until I recently purchased the widescreen DVD, which also includes the hilarious, awful trailer that makes the film come across as a "Peyton Place" soap opera, and conveys none of its creepiness.

Interesting notes: Eastwood and Siegel had to battle with Universal Pictures to keep the original ending, and they won out; and, the film was billed as a standard Eastwood western, which it certainly is not. It is a gothic tale of deception and horror set in the time of the Civil War, with an underlying tone of eroticism and sexual tension running throughout.

I'm not putting any spoilers in this review, and if you want to see the film as it should be seen, then be careful of looking it up on the internet, as spoiler reviews of it do abound.

Clint Eastwood is John McBurney, a Union soldier shot on Confederate ground and discovered by a young girl from a nearby girls' school. She rescues him and takes him back to the school, but instead of notifying the local patrol of his presence so that he will be taken to prison, the headmistress, Miss Martha (Geraldine Page), her assistant Edwina (Elizabeth Hartman), their black servant Hallie (Mae Mercer), and the mostly teenage girls take him in, start to heal him, and fall under his spell. The atmosphere of gothic horror starts from the titles, real battleground shots from the war are shown, and Eastwood's voice is heard quietly singing a funereal song of the time.

The opening scene of his encounter with the little girl who saves him sets the tone of his character, and the tone of the entire movie. To say any more than that would spoil the surprises in that first scene. To say much more about the film itself might ruin it for anyone who hasn't seen it...if you are into creepy, gothic tales, find it and rent it. Eastwood is excellent, and it's interesting to see him in an early role, or any role, where he portrays a character that is for the most part very unsympathetic.

Geraldine Page had a plum role as the headmistress, and I cannot imagine another actress of the time being as good in the role; a long shot could have been Piper Laurie, but I don't think Laurie could have embodied it in the same manner as Geraldine Page.

Elizabeth Hartman (whose wonderful performance in the film "A Patch of Blue" as a blind girl who falls in love with Sidney Poiter's character is another high point in her short career) is at her prime here, delicate and masterful at the same time. Unfortunately, her delicacy on film was also a part of her real life; she committed suicide at age 45.

I end this review with this observation: one manipulative, lying Yankee man is no match for a houseful of deceptive and libidinous Southern belles.

Harvey

(1950)

"I've wrestled with reality for 35 years, Doctor, and I'm happy to state I finally won out over it."

Jimmy Stewart, in one of his personal favorite film and stage roles, portrays Elwood P. Dowd, a gentle philosopher and harmless alcoholic who, after his mother's death, befriends an imaginary - or is he? - 6'3.5" white rabbit; a "Pooka" who goes by the name of Harvey. Unfortunately, Harvey is invisible to just about everyone but Elwood. Elwood wanders through life perfectly happy, harming no one, but alienating his family and many of the townspeople with his "friend".

Josephine Hull, (who won a Best Supporting Actress Oscar for her role in the film; she also played the part on stage) portrays his sister Veta Louise Simmons, and she steals the film, IMO; her facial expressions and gestures are priceless (she also played one of the aunts in "Arsenic and Old Lace", 1944).

Jimmy Stewart found himself personally identified with the role for many years, much to his delight, remarking in interviews how strangers would sometimes stop him in the street and seriously ask him if Harvey were with him, only to be kindly told, "No, he's at home today, with a slight cold" or some other humoring excuse for the lack of his invisible friend.

The pacing is fast and furious, and the dialogue alternately hilarious and touching in this whimsical, bittersweet tale of illusions and realities. Of course the movie is dated and implausible today in several respects; however it still holds a gentle, childlike appeal that transcends time. It's a great, simply-told "feel-good" movie to start off the holiday season.

The Night of the Hunter

(1955)



Trying to explain "The Night of the Hunter" to anyone is difficult. It's not the story that matters so much as how it's told, as directed by Charles Laughton in his one (credited) directorial effort. It is said he never directed again because the reviews of "The Night of the Hunter" discouraged him so much.

Robert Mitchum is "Reverend" Harry Powell, a self-appointed preacher who preys upon lonely widows - "What'll it be now, Lord? Another widow?" - killing them for their money as he believes the Lord has instructed him, and then moving on to the next victim. While in prison briefly on a car-theft rap, he shares a cell with Ben Harper (Peter Graves, best known for his role on the old TV show "Mission Impossible").

He tries to worm the location of the money from Harper before the execution. When he is released from his brief prison stay, he heads straight for Willa Harper (Shelley Winters); Ben's weak, sweet, sexually frustrated, somewhat dense widow, and her two kids.

There is just so much going on in this film: biblical references and symbolism; Freudian symbolism (Powell's knife brandished in a couple of scenes as a warped version of a phallic symbol); Mitchum's and Gish's amazing performances; various other, interesting, smaller storylines; a scene reminiscent of "The Cabinet of Dr. Caligari" (1919); Powell's tattoos of "Love" and "Hate" on his knuckles; and the dream-like, surreal riverboat escape sequence. The children, played by Billy Chapin (John Harper) and Sally Jane Bruce (Pearl Harper) give effective performances. There's also the over-the-top campiness in some of Mitchum's acting, which fits in perfectly with the stylized direction of the film; the sexual undercurrent and its repression that runs throughout (and no one played whiny, sexual frustration in those days better than Shelley Winters, as evidenced by this and other roles such as the mother in "Lolita" (1962): "Harrrrrry! I'm lonnnnnnnely!" and her role as the cast-aside pregnant girlfriend in "A Place in the Sun" (1951).

Lillian Gish is wonderful in her portrayal, standing up to the evil Harry Powell, and Robert Mitchum is perfectly cast in what some see as his best film role; his charismatic, handsome, oily, smooth portrayal of the serial killer Harry Powell surely must stand as a study guide for today's actors. Mitchum seemed to reprise much of his technique for this performance for his subsequent role in "Cape Fear" (1962).

I really can't say much more without going on and on for pages. Each scene could be written about and analyzed in detail; each scene is lit and photographed and told in a manner that has a director's hand prints all over it. It's a true artist's film, and we will never know what other wonders Charles Laughton could have directed. I have read of some viwers who laughed through much of this movie, which is unfortunate. I find it difficult to comprehend that reaction from any intelligent viewer who was really paying attention. I guess you either "get it", or you don't, which may have something to do with the film's dismal success when it was released.

This under-appreciated film is a ghoulish twist on a classic story, directed (and mostly written, it is said, by Laughton, after his arguing with James Agee over the rendition of the screenplay) in a masterful manner by a man best known for his own portrayals of classic film characters such as Captain Bligh in "Mutiny on the Bounty" (1935), and Quasimodo in "The Hunchback of Notre Dame" (1939).

The hymn "Everlasting Arms" recurs throughout, and could never sound the same again after this film.

Go. Go at least to rent this movie, or better yet, buy it. It's a one-of-a-kind masterpiece, IMO.