Albert Maltz

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The Robe Review


Weak
The Biblical epic is one of the most tired of Hollywood genres. Instead of taking the Good Book for all its fire and brimstone brazenness, concentrating on all the death, sex, and betrayal involved, Hollywood goes strictly for the houses of the holy. Within the vacuous walls of this sanctimonious, self-righteous abode are enough high-minded false prophecies to make even the most dedicated Messiah balk. A good example of this is 1953's The Robe. Based on a best-selling novel by Lloyd C. Douglas, this oversized spectacle is noted as being the first film ever released in the fledgling Cinemascope format. It's also a highly cheesy bit of faith-based falderal that still manages to manipulate the audience into appreciating its preaching.

When he angers Caligula (Jay Robinson) by buying Demetrius (Victor Mature), a slave he had wanted, military officer Marcellus Gallio (Richard Burton) is exiled to Jerusalem. There, he encounters talk of a new 'messiah' named Jesus. When Pilate condemns this well-meaning man, Marcellus is placed in charge of the crucifixion. After the deed, he wins Christ's robe in a dice game. A strange event involving the garment shakes Marcellus to his core, causing Demetrius to steal it and disappear. Returning to Rome, Marcellus is charged by Emperor Tiberius (Ernest Thesiger) to retrieve the shroud and destroy it. Starting his search in Galilee, our hero begins to learn the teachings of Jesus. After coming in contact with former disciple Peter (Michael Rennie), Marcellus repents and returns to Rome to spread the word and win back his former flame Diana (Jean Simmons). Naturally, he too is condemned.

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The Naked City Review


Excellent
How many stories are there in the naked city? Eight million; everyone knows that figure -- Kurtis Blow even cut a rap single on the premise -- and the sole reason that this tidbit of cultural knowledge is shared by all is to be found in the closing narration of the 1948 film noir The Naked City: "There are eight million storied in the naked city. This has been one of them." In truth, producer Mark Hellinger lifted his film's title from a coffee table compendium of photography -- arguably the first book of its kind whose focus was the art of the camera rather than that of the paintbrush -- by a certain Arthur Fellig, better-known by his nom de lens Weegee. Today we recognize Weegee's candid photos of New York's underside, taken together, as an indispensable document of a nighttime city long since gone by, but in his day Weegee's work gained only gradual acceptance because of its source: tabloid newspapers, the yellow press. The subjects of his photos bore this out: in his frames gangsters lay in the street, blood pooled around their broken faces; fires raged through occupied tenements; uniformed cops took aim on neon-lit city streets, open cruiser doors serving as shields. According to an essay by film historian Luc Sante that accompanies the new Criterion release of the film, Hellinger was presented with a copy of Weegee's The Naked City right around the time that a screenplay for a film tentatively titled Homicide crossed his desk; Hellinger, finding that the tone of Weegee's work matched exactly his vision for a film in which New York City served as the de facto central character, bought Homicide, re-titled it, and hired Weegee himself as still photographer for the production.

And although we readily identify The Naked City as film noir today, in reality the focus of the film is slightly skewed by comparison with other classics of the genre. Here it is the police, not a P.I. or American everyman-turned-vigilante, who brings the usual assortment of noir perps to justice, and the action we follow is that of the police procedure that draws the net ever closer. The picture opens with the murder of a young woman, a blonde knockout who models dresses for a living and who was lured to the city's bright lights and flashy lifestyle like a moth to the flame, and before a single day has passed, seasoned lieutenant Dan Muldoon (Barry Fitzgerald) and his rookie, war vet partner (Don Taylor) have administered the third degree to a seedy cross-section of New York society. Some of these interested parties, you'll be surprised to learn, are not completely forthcoming; from here, we follow Muldoon, whose job is to sort the lies from the truth, and partner Halloran, who puts in a lot of legwork and follows a hunch or two of his own. The film ends in a justly famed chase sequence through the maze of the Lower East Side (this legendary immigrant neighborhood, now the home of boutiques and cafŽs, is captured on film as it never has been before or since) and ends in a vertiginous sequence atop a tower of the Williamsburg Bridge.

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Cloak And Dagger Review


Weak
I love spy movies, honestly. Too bad then that Fritz Lang's Cloak and Dagger has all the thrills of a merry-go-round. Gary Cooper is woefully miscast as an American superspy -- considering Cooper doesn't even have the emotional presence to be able to raise his eyebrows, it's hard to feel for either his mission (investigating German A-bomb capabilities during WWII) or his romantic dalliance (with a mysterious yet ultimately pedestrian Lilli Palmer). Sure enough, we're stabbed in the back.

The Beguiled Review


Very Good
Ingredients for The Beguiled:

1 part Misery

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