Delmer Daves
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Instead, he's keen to pay homage to the likes of "Run Silent, Run Deep" and "Destination Tokyo."
Tense submarine movies have big stars - Cary Grant in "Destination Tokyo," Burt Lancaster in "Run Silent Run Deep," Sean Connery and Alec Baldwin in McTiernan's "Hunt for Red October," Denzel Washington and Gene Hackman in "Crimson Tide."
But the biggest failing of U-571 is that we've seen most of it before, in better films like Das Boot , Run Silent Run Deep , and Destination Tokyo .
The first half could remind one of Delmer Daves' Broken Arrow (1950), in which a white scout (James Stewart) learns about the Apache culture and falls in love with an Apache woman (Debra Paget).
For a while, at least, “Gladiator” sheds its dour pretensions and slides toward the enjoyable-trash vein exemplified by Victor Mature in “Demetrius and the Gladiators” or Steve Reeves in “Hercules Unchained.”
The entire film is shot from Oscar’s point-of-view evoking Hollywood classics such as Robert Montgomery’s Lady in the Lake (1947) and the first third of Delmer Daves’s Dark Passage (1947) as well as first person computer games, the opening of Kathryn Bigelow’s Strange Days (1995) and Jonas Åkerlund’s music video for The Prodigy’s single “Smack My Bitch Up” (1997).
Moreover, the first-person device, which isn’t even new — way back in 1947, the Humphrey Bogart movie “Dark Passage” tried it; it didn’t catch on — is ineffective.
This trick has been tried before, notably in noir films such as Dark Passage and Lady in the Lake (both 1947) and sections of Strange Days (1995).
The hallucinatory force of "Face/Off's" central idea recalls the peak film noir stories of the '40s (films like "Dark Passage," "The Dark Mirror" or "Kiss of Death").
Even worse are the movies that attempt sustained first-person POV for reasons other than unreliability. The noirs Lady in the Lake (1946) and Dark Passage (1947) both use first-person for much or all of the movie, the former to replicate Raymond Chandler’s propulsive prose, and the latter to hide the protagonist’s face until he can remove bandages after his extensive surgery and reveal that he looks like Humphrey Bogart.
Granted, we've come a long way from cautionary teen-dream fantasies like A Summer Place (1959), in which sex before marriage instantly leads to unplanned pregnancy.
There’s a boom, a mess of melting flesh and, shortly thereafter, the temporal agent is in bed with his face wrapped in bandages, much like Humphrey Bogart’s in the 1947 noir “Dark Passage.”
We're revisiting that teen movie shrine, A Summer Place, where the sea glitters and first kisses are exchanged on balmy evenings amid lengthening shadows.
What distinguishes this British import from "A Summer Place'' and other Hollywood tales of impossible first love isn't the lesbianism, which director Pawel Pawlikowski wisely plays down.
Half of "The Notebook" is a silly, syrupy romance about a pair of star-crossed lovers whose powerful attraction is threatened by such reliable obstacles class differences, mean old parents who just don?t understand and a world war-basically the kind of story that was already beginning to seem shopworn and cliched back in the days of "A Summer Place" and "Splendor in the Grass".
3:10 to Yuma doesn’t sound that exciting, either, but both film versions of Elmore Leonard’s story are pretty gripping.
Few helmers take greater satisfaction in reminding audiences that they are watching a movie, and though the material itself seems hardly substantial enough to suit an hour-long television episode (Delmer Daves told the superior — and superficially similar — “3:10 to Yuma” in a tight 92 minutes), Tarantino’s treatment makes it epic.
Fifty Shades of Grey (2015)
Directed by Sam Taylor-Johnson
influenced by A Summer Place (1959)
Themes
A movie version being inevitable, this Valentine’s Day gift to the world of schlock cinema, scripted by Kelly Marcel (Saving Mr. Banks) and directed by Sam Taylor-Johnson (Nowhere Boy), tries valiantly to elevate the Twilight fan fiction-inspired source material to a level of melodrama worthy of ‘60s stuff like A Summer Place or Strangers When We Meet.