1950s – Page 2 – PopCult Reviews

Movie Review – Hiroshima, Mon Amour

Hiroshima, Mon Amour (1959)
Written by Marguerite Duras
Directed by Alain Resnais

Some historical events seem to be glossed over. We’re taught they happened, but then the textbook quickly moves on to other topics. One of these is the atomic bombing of Japan. I personally believe this sits beside the Holocaust as the two most monstrous acts ever performed by humans on each other. Because I came along decades after the act, I was fed the very manicured propaganda around it. Even worse, I was homeschooled and given Bob Jones University’s take. I think most of us couldn’t really articulate what happened directly following the dropping of those bombs or what the mood in Japan was in the following weeks or months. But such a thing could not happen without the people’s lives being devastated beyond anything we Americans have experienced.

Movie Review – Night and Fog

Night and Fog (1956)
Written by Jean Cayrol
Directed by Alain Resnais

It’s an image that your brain can’t quite comprehend at first. Then the camera pulls out. And continues to pull out. And just keeps going beyond anything you could have anticipated or expected. Literal mountains of human hair piled up into a range of which I could not see the boundary. It seemed to go on forever. This isn’t just violence inflicted on one person to another. This is something different. There is a scope & scale that could not have happened by accident. Each action, each cut, each kill was planned. Starvation was part of the plan. This was the same thought an exterminator puts into eliminating an infestation of rats because that is how the Nazis saw these human beings as something to be erased. And with cold, calculated action, they built an entire machine to kill them all.

Movie Review – Touch of Evil

Touch of Evil (1958)
Written & Directed by Orson Welles

None of his peers could come close to touching the natural filmmaking genius of Orson Welles. Sometimes, you hear film people overhype a filmmaker or actor, but in this case, believe the hype. Welles delivers a film that looks like nothing else that was out at the time, pushing the boundaries of American cinema once again. Charlton Heston was cast after the release of The Ten Commandments and was curious who would direct. Welles was already in the cast, and Heston suggested the film legend helm the picture. Universal said they would get back to him. He got the picture, rewrote it, and staged one of the most visually exciting film noirs ever made.

Movie Review – Kiss Me Deadly

Kiss Me Deadly (1955)
Written by A.I. Bezzerides & Robert Aldrich
Directed by Robert Aldrich

At one point, around the halfway mark, I turned to Ariana and said, “This main character… he’s a real scumbag, right?” She agreed. The screenwriter A.I. Bezzerides said, “I wrote it fast because I had contempt for it… I tell you, Spillane didn’t like what I did with his book. I ran into him at a restaurant, and, boy, he didn’t like me.” I haven’t read Spillane’s novel or any of his Mike Hammer work, but I liked how nasty the investigator was. It felt in tune with the world of film noir, where everyone seems to be simmering with misanthropy and taking their anger out on the world. Hammer is no exception to this. Kiss Me Deadly is also a film that has influenced many other pictures as varied as Alex Cox’s Repo Man, Raiders of the Lost Ark, and Pulp Fiction. This is by far the most cynical of all the noir pictures we’ve watched.

Movie Review – The Big Heat

The Big Heat (1953)
Written by Sydney Boehm
Directed by Fritz Lang

What is the Law? Who does it exist to protect? It’s becoming more evident to me, maybe to you too, that the Law as an institution in the States (as that is where I grew up) does not exist to protect me. If I benefit from it, that is an unintended benefit. The Law is in place to protect & serve the wealthy ownership class. The main prerogative of the police as an institution is to protect the rich & their property. If that means cracking the skulls of the plebs, they don’t shed a tear over that. The noir genre is full of characters who find themselves on the receiving end of these systems, and over the years, one subgenre has emerged: the rogue cop. It probably didn’t start here, but The Big Heat was likely one of the significant sparks to see this subgenre grow in popularity. It’s a very reactionary response to social injustice, continuing the fixation on hyper-individualist solutions.

Movie Review – Night and the City

Night and the City (1950)
Written by Austin Dempster, William E. Watts, and Jo Eisinger
Directed by Jules Dassin

For years, American film industry censorship worked to soften the edge of noir films. There would always be a good cop, or crime would always punished severely. This caused the stories to lose their bite present in the source material, where writers wrestled with big existential questions and faced the cruelty of life in the modern era. The United Kingdom, while not exempt from moralizing about films, allowed for a more nuanced version of noir to be presented on the screen. At the time of its release, Night and the City was noted for being a film without sympathetic characters (save for maybe one woman). Some critics of the time saw the film as “trashy” and “pointless” in reaction. I take a different stance; this movie points out how desperately people live in the struggle for survival exacerbated by capitalism.

Movie Review – The Right Stuff

The Right Stuff (1983)
Written & Directed by Phillip Kaufman

It’s pretty silly to say with a straight face that the United States “won the space race.” This win is predicated on a single event, landing a man on the moon. That’s an awe-inspiring feat, but I don’t understand why that was the thing that made America the winner. From a narrow-minded jingoistic sense, I understand why it was the only thing the United States focused the full force of mass media on. Thus, it was made the winning event through the propagandistic media. Let’s review the space-faring accomplishments made during this time.

Movie Review – Asteroid City

Asteroid City (2023)
Written by Wes Anderson & Roman Coppola
Directed by Wes Anderson

“All Wes Anderson movies are the same,” they shout. From an aesthetic point of view, the director is exceptionally consistent these days with a particular visual sensibility. I would argue that it has changed over time. Go back and watch Bottle Rocket and Rushmore, then compare it to this film and The French Dispatch. They are very different in how they look but share similar rhythms. That’s what I find is true about all his work, the rhythm of the stories, characters, and comedy. Asteroid City is no exception, but I would argue a need to look deeper than the surface level or study how what’s happening aesthetically flows into the themes explored in the story. Asteroid City is a profound film about big emotions, particularly grief, and how we process them.

Movie Review – Picnic

Picnic (1955)
Written by William Inge and Daniel Taradash
Directed by Joshua Logan

We come to the first movie in the American Theater on Film series that doesn’t work. I wondered why I didn’t hear as much about Picnic as other entries in this series I’m doing, and now it makes sense. Picnic is attempting something ambitious, it is one of the better movies in the series for cinematic visuals, but its core ideas are muddled and clunkily handled. There are cinematographic moments here that are absolutely stunning, and that’s what makes it sting so badly that the story itself is not well done. It should not surprise me that Picnic looks so good as it was the fantastic James Wong Howe behind the camera, one of the all-time great cinematographers. Does that man know how to light and frame a scene!

Movie Review – 12 Angry Men

12 Angry Men (1957)
Written by Reginald Rose
Directed by Sidney Lumet

What is justice? Any direct education I was ever given in America never taught me the answer. That was found in observation, reading, and listening. American institutions spend much time telling people what to believe justice is. They do it through copaganda like Law & Order, CSI, and the other generic procedurals that get vomited up on television every year. My perennial punching bag Aaron Sorkin spent a lot of time musing over law & justice in his work too. But what we see on the screen in this regard rarely reflects what is happening in real-time all around us. And, as much as I love 12 Angry Men as a piece of art, it doesn’t show us anything close to the truth about how the justice system operates in America. What it does instead is to provide an impressionistic breakdown of the ideologies that keep America from being a place where freedom actually exists.