Raymond Greenleaf

Raymond Greenleaf

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East Side, West Side Review


Weak
In the early 1930s, director Mervyn Leroy was one of the men responsible for the gritty, careening Warner Brothers house style, but by 1949, Leroy was one of main hack directors for MGM and a prime example of the staid MGM routine is on display in Leroy's prosaic staging of the cad-for-all-seasons East Side, West Side.

Barbara Stanwyck is mistreated high society wife Jessie Bourne, married to Brandon (James Mason), a well-heeled corporate lawyer who is also a regular heel, cheating on Jessie every chance he gets. As Brandon explains his philosophy to a hopeful conquest, "Just because a man has one perfect rose in his garden at home, it doesn't mean that he can't appreciate the flowers of the field." Even so, Brandon tries to "think with his head" but then Ava Gardner breezes in and all bets are off.

Continue reading: East Side, West Side Review

All The King's Men (1949) Review


Excellent
Broderick Crawford is no Orson Welles, but this meditation on the underbelly of American politics is at least in the same league as Citizen Kane. Also a Best Picture winner, the film traces the rise of populist local hero Willie Stark, as he moves through the American political machine like a juggernaut, chewing up anything in his way. His compatriots (a newsman turned publicist, various lovelies and heavies) stick by him as Stark becomes corrupted en route to the top. The direction by Robert Rossen (The Hustler) isn't inspired, but he does get the job done with reasonable aplomb.

All The King's Men Review


Excellent
Broderick Crawford is no Orson Welles, but this meditation on the underbelly of American politics is at least in the same league as Citizen Kane. Also a Best Picture winner, the film traces the rise of populist local hero Willie Stark, as he moves through the American political machine like a juggernaut, chewing up anything in his way. His compatriots (a newsman turned publicist, various lovelies and heavies) stick by him as Stark becomes corrupted en route to the top. The direction by Robert Rossen (The Hustler) isn't inspired, but he does get the job done with reasonable aplomb.
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