George Axelrod

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Breakfast At Tiffany's Review


Extraordinary
A near perfect blend of comedy, romance, and minor tragedy, Breakfast at Tiffany's is a must-see classic that, despite diversions from Truman Capote's original novel, remains his clearest statement on what it feels like to be young, ambitious, and on the make in a rapacious city full of hidden agendas.

Set in present-day 1961 (as opposed to during World War II as in the novel), the film introduces us to the gorgeous Holly Golightly (a sparkling Audrey Hepburn) as she staggers home early one morning in her little black dress and sunglasses after yet another all-night bender during which she likely doled out small favors to amorous older gentlemen in exchange for rent money. Pausing in front of Tiffany's, Holly munches a danish and sips coffee as she admires the jewelry in the window. It's an iconic movie moment. Holly sees herself as a free-spirit, a party girl, someone who, as she puts it, won't be caged by love or commitments. It's a lonely life, but it pays the bills. The'60s are on the verge of swinging.

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The Manchurian Candidate (1962) Review


Extraordinary
Possibly John Frankenheimer's finest film, The Manchurian Candidate speaks to the Red Scare, the horrors of war, paranoid fears of brainwashing -- all tied in with the game of Solitaire. Frankenheimer owes a lot to George Axelrod's script and Richard Condon's gripping novel, which tells the story of a perfectly brainwashed soldier (during the Korean War), played by Laurence Harvey, who becomes a no-remorse assassin after capture and brianwashing by the enemy. His target and handler are both kept as mysteries until the end, but it's Frank Sinatra as an old war buddy who's suffering terrible nightmares that brings it all to light.

The film, as compelling as it is, is almost undone by Sinatra's performance, which is capable but unequal to his co-stars. Sinatra, of course, had so much power during the making of the film, that he's never really pushed for a good take. As a result, weaker scenes have been left in, presumably due to Sinatra's notorious unwillingness to do retakes. Too bad, because they're needed here badly. It's little matter, though: The Manchurian Candidate's classic structure and breakneck pacing are a perfect match for the movie's incredible story punch to the gut. George Axelrod's script turns Richard Condon's novel into classic cinema. Its suspense is gripping, and its biting political statement (lambasting McCarthyism deeply) is unparalleled in cinema this side of a Michael Moore movie.

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George Axelrod

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