Tag: 1950s

Take 3: Witness for the Prosecution (1957) Review

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April’s theme for the Genre Grandeur blogathon is “Courtroom Dramas”. Upon researching eligible titles for this review, I came across one I have heard of before. That title was 1957’s Witness for the Prosecution! Though this adaptation was recommended to me by Emily (from The Flapper Dame) and Eric Binford (from Diary of a Movie Maniac), it’s not the first time I’ve seen (and reviewed) any Witness for the Prosecution adaptation. Back in 2022, I wrote about 1982’s version from the Hallmark Hall of Fame collection. In that review, I criticized Wilfred (the film’s protagonist) spending more time on the story’s court case than the mystery wrapped around it. I believed that creative decision decreased the audience’s engagement. This is one of the reasons why I thought Hallmark Hall of Fame’s adaptation of Witness for the Prosecution was just ok. But will I feel similarly about the 1957 version of this story? In order to solve this mystery, you’ll have to read my review!

Witness for the Prosecution (1957) poster created by Edward Small Productions and United Artists

Things I liked about the film:

The acting: When I wrote about the Hallmark Hall of Fame presentation of Witness for the Prosecution, I praised the acting performances of Diana Rigg, Deborah Kerr, and Beau Bridges. Not only did Beau and Deborah utilize a variety of expressions and emotions, Diana’s portrayal of Christine was consistent. The acting performances in the 1957 adaptation of Witness for the Prosecution were also a highlight! But if I could use one word to describe them, it would be “animated”. Throughout 1957’s Witness for the Prosecution, Wilfrid (the movie’s protagonist) is a grumpy man who stubbornly likes to do things his way. However, the strength of Charles Laughton’s portrayal prevented Wilfrid from becoming a one-dimensional character. In a scene where Wilfrid rides on an elevating stair chair, Wilfrid smiles with a sneaky look in his eyes, scheming a way to foil Miss Plimsoll’s plans. Meanwhile, Tyrone Power gave a very well-rounded portrayal of Leonard Vole! One of the best examples of this statement is when Leonard finds out about his inheritance from the murder victim, Emily Jane French. Leonard’s eyes become very wide as he excitedly reacts to his new-found wealth. This excitement can also be heard in his voice. Then, without hesitation, Leonard’s face falls as he realizes this recently discovered information gives him a motive for murder. Concern replaced excitement in Leonard’s voice and fear even found a reason to exist in his eyes.

As I just mentioned in this review, Diana Rigg’s portrayal of Christine in Hallmark Hall of Fame’s Witness for the Prosecution was consistent. This was also the case for Marlene Dietrich’s portrayal of Christine in 1957’s Witness for the Prosecution. But like I said in this review, the cast’s performances in the 1957 movie were “animated”. That animation was woven into Marlene’s portrayal as well. Throughout Witness for the Prosecution, Christine carried herself with a poised confidence, refusing to let anything get to her. A perfect example is when she outsmarted Wilfrid’s “monocle test”. During Leonard’s trial, however, Christine’s emotions burst into the courtroom. Sometimes, she yelled out her answers with an intensely serious look on her face. There was even a scene where tears spilled from her eyes. Marlene’s performance added enjoyment to my movie-viewing experience!

The set design: One of the strengths from 1982’s Witness for the Prosecution was the set design. In my review of that film, I described the court room as well as Wilfred’s office, with the latter being my favorite set in the Hallmark Hall of Fame presentation. But in the 1957 version of Witness for the Prosecution, my favorite set was Emily Jane French’s living room! The room consisted of two closely situated spaces; a sitting area by a large window and a sitting area by a fireplace. The sitting area by the window featured at least one wicker chair, a hanging plant, and a magazine rack. Meanwhile, the sitting area by the fireplace proudly displayed African artifacts on the walls. The white walls surrounding the living room and the décor’s lighter hues helped the artifacts stand out. Mosaic tiles with a flower design added daintiness to the fireplace itself. Two matching wicker cabinets and a transparent shelf provided storage to the living room. The lower ceiling in the living room helped incorporate a sense of coziness. With everything I described, I wish Emily’s living room was featured more in 1957’s Witness for the Prosecution.

Showing as well as telling: A flaw I talked about in my review for Hallmark Hall of Fame’s Witness for the Prosecution was how dialogue heavy the story was. The emphasis of telling over showing left me disappointed. But this flaw was remedied in Witness for the Prosecution from 1957! Flashbacks presented how Leonard met Emily and Christine, which added context to the dialogue. Later in 1957’s Witness for the Prosecution, Wilfrid discovers evidence that could impact Leonard’s case. This discovery is actually shown on screen, with the mystery surrounding who gave Wilfrid the evidence and where that person got the evidence from providing intrigue. A handful of Wilfrid’s pills cleverly show the progression of time during Leonard’s case. Though the 1957 version of Witness for the Prosecution relies on dialogue, the creative decision to show and tell made the movie more engaging than Hallmark Hall of Fame’s adaptation!

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What I didn’t like about the film:

Prolonged involvement: In my review of Hallmark Hall of Fame’s adaptation of Witness for the Prosecution, I was critical of Wilfred’s inactive detective role. The 1982 film placed more emphasis on showing Wilfred resolving Leonard’s case than solving the mystery surrounding the case. Witness for the Prosecution from 1957 still places emphasis on showing Wilfrid resolving Leonard’s case. But this time, he doesn’t officially get involved in Leonard’s case until about forty minutes into the hour and fifty-six-minute film. I understand any mystery movie, let alone a courtroom drama, requires build-up. However, in my opinion, the build-up in 1957’s Witness for the Prosecution lasted too long.

An underutilized character: Before Wilfrid officially becomes Leonard’s solicitor, Leonard meets Wilfrid with his solicitor, Mr. Mayhew. If Mr. Mayhew hadn’t given Wilfrid the information about Leonard’s case, Wilfrid would have never known about Leonard’s case. But after Wilfrid becomes Leonard’s solicitor, Mr. Mayhew disappears from the story. I was disappointed by his underutilization because he could have, somehow, continued contributing to Leonard’s case. This underutilization also does a disservice to the actor who portrayed Mr. Mayhew, Henry Daniell.

A predictable detail: Leonard is questioned about Christine when he first meets Wilfrid. During this questioning, Leonard shares an important detail about her that affects the movie’s later events. But as soon as Leonard brought this detail up, I knew how it would impact the story’s outcome. In fact, I saw a plot twist coming because that aforementioned detail about Christine was revealed earlier in the movie. Due to how soon Wilfrid (and the audience) found out about Christine’s detail, it kind of made the movie’s ending predictable.

Courtroom image created by Macrovector at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/isometric”>Isometric vector created by macrovector – http://www.freepik.com</a>. Image found at freepik.com.

My overall impression:

In the introduction of this review, I asked if I’d feel similarly about 1957’s Witness for the Prosecution as I did Hallmark Hall of Fame’s version of the story. Now that I’ve seen (and reviewed) both adaptations, I can honestly say I like the 1957 film over the one from 1982! One improvement was the creative decision to show as well as tell, which added intrigue and engagement to the movie. It also helps how the purpose of Wilfrid’s “magical monocle” was brought up in the dialogue. Witness for the Prosecution from 1957 shares some of the same strengths as the Hallmark Hall of Fame presentation, such as the acting performances and the set design. However, the 1957 version of the story has its flaws. Because of how soon a detail about Christine was revealed, it kind of made the film’s ending predictable. I not only wasn’t a fan of how underutilized Mr. Mayhew became, I also didn’t like how Wilfrid got involved in Leonard’s case about forty minutes into the hour and fifty-six-minute movie. I’m glad I was recommended the 1957 production of Witness for the Prosecution! It gave me another chance to witness a different approach to one of Agatha Christie’s stories.

Overall score: 7.3-7.4 out of 10

Have you seen 1957’s Witness for the Prosecution? Are there any adaptations of Agatha Christie’s work you’d like to see me review? Please tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Brigadoon Review

On By 18cinemalane4 Comments

As I said in my Comparing with the Critics review of Willow, the fantasy genre is underrepresented on 18 Cinema Lane. This is one of the reasons why I put “Review a movie from the Fantasy genre” on my Year-Long Bingo Card, so I could add more fantasy titles to my collection of movie reviews. Hamlette’s Soliloquy’s We Heart Fairy Tales Week Blogathon provided the perfect opportunity for me to accomplish this goal. It also gave me a reason to finally check out the 1954 movie, Brigadoon! Recommended by a reader named Becky, this is a title I had heard of, but had never seen. In fact, I knew very little about the film, like how the story takes place in Scotland. But now that I think about it, Scottish-related titles are also underrepresented on my blog. Only four movies having something to do with Scotland have been reviewed in the eight years 18 Cinema Lane has existed. These films have ranged in quality from fine, ok, or underwhelming. How will Brigadoon compare to these other movies? Let’s journey through this review to find out!

Brigadoon poster created by Metro-Goldwyn-Mayer (MGM)

Things I liked about the film:

A colorful picture: According to the film’s poster, the color photography in Brigadoon was provided by a company called Ansco. The creative team behind the 1954 picture certainly took advantage of color photography’s incorporation, as Brigadoon is a very colorful film! Just in the opening number, “Down on MacConnachy Square” alone, the residents of the titular town boast attire in bright shades of orange, yellow, and red. Even the props add bursts of color to the number, from a stand of orange pumpkins to baskets of red flowers. Light colors are also woven into the scene. Some of them include lilac, blue, and green. These bold hues make Brigadoon feel like the perfect movie to watch during Springtime!

Van Johnson’s performance: In Brigadoon, Van Johnson portrays Jeff Douglas, who joins his friend, Tommy Albright (portrayed by Gene Kelly) on a trip to Scotland. Because Jeff is a man who needs to see things to believe them, he possesses a down-to-earth personality. This personality is effectively showcased throughout Van’s performance to the point Van ended up stealing the show! During the musical number, “Almost Like Being in Love”, Tommy expresses his love for Fiona (portrayed by Cyd Charisse). At one point, Jeff looks at his friend with genuine surprise. This combination of slightly dropped jaw, wide eyes, and even a small lean away from Tommy presents a priceless reaction. Van’s line delivery, as well as how the dialogue was written, also contributed to his scene stealing performance. When Tommy and Jeff are discussing Tommy’s upcoming wedding, Jeff tells his friend, “There’s nothing a woman hates more than her fiancée’s best friend. He knows all the secrets she’s going to spend the rest of her life trying to find out”. Jeff stated this in a matter-of-fact way paired with an easy-going flare. Though it’s only February, Van’s performance in Brigadoon is one of the best I’ve seen this year, so far!

The set design: Though Brigadoon takes place in the woodlands of Scotland, the movie was filmed at Metro-Goldwyn-Mayer Studios in California. Despite this, the set design was a consistent strength in the film! What appears to be painted backgrounds present the illusion Brigadoon is surrounded by tall, rolling hills. A mixture of foliage like trees, grass, and flowers create a peaceful tranquility that makes Brigadoon inviting. From time to time, vines can be seen growing on one of the village’s houses. There are even live animals, such as Highland Cattle and sheep, spotted by the characters. The combination of these creative choices allowed the set design in Brigadoon to give the audience an immersive experience!

The We Heart Fairy Tales Week Blogathon banner created by Hamlette from Hamlette’s Soliloquy

What I didn’t like about the film:

A prolonged mystery: One of the reasons why I was interested in checking out Brigadoon was the mystery within the story. The synopsis on IMDB not only reveals the people of Brigadoon “harbor a mysterious secret”, the village itself is “not on the map”. While the truth behind the mystery is eventually discovered, that revelation didn’t come until about the film’s halfway point. For the first half of the movie, it almost seemed like the mystery was an afterthought. I wish the discovery of the mystery was gradually written into the script, to give the audience a chance to solve the mystery for themselves.

An unnecessarily long scene: Toward the end of the movie, Tommy and Jeff return home from Scotland. While at a bar, Tommy crosses paths with his fiancé, Jane. During their conversation, Tommy keeps thinking about Fiona from Brigadoon, especially when Jane says something that reminds Tommy of his Scottish trip. The whole scene was approximately ten minutes long. While I understand the creative team of Brigadoon’s point that Tommy left his heart with Fiona, the scene itself was too drawn out. To reach its intended point sooner, I believe this scene should have been trimmed down.

Harry’s subplot: For this part of my review, I will spoil Brigadoon. If you haven’t seen the movie and are planning on watching it, skip to the part of my review titled “My overall impression”.

One of the villagers of Brigadoon is a man named Harry. Throughout the movie, he’s unhappy because the woman he loves, Jean, is marrying a man named Charlie. Harry is so upset that he not only feels he no longer has a purpose, he also wants to leave Brigadoon. If Harry were to leave the village, it would cause the rest of the villagers to disappear. At one point, all of the men from Brigadoon search for Harry in order to prevent him from leaving. But Harry ends up dying while Jeff was bird hunting. Harry’s subplot was, in my opinion, underutilized, only providing conflict toward the end of the film. I also believe Harry’s subplot could have received a better resolution, especially considering Brigadoon was released at the very end of the Breen Code era. Maybe Harry and Meg, a shepherdess who was attracted to Jeff, could have healed each other’s broken hearts.

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My overall impression:

Now that I’ve finally seen Brigadoon, I have covered five Scottish-related films on 18 Cinema Lane. Like I said in this review’s introduction, the other four titles ranged in quality from fine, ok, or underwhelming. However, I found Brigadoon to be a fine, pleasant presentation! Though I didn’t talk much about the musical numbers in the 1954 movie, they were definitely one of the film’s strengths. Other strengths of the movie include the set design and the creative team’s use of color. But a major highlight was Van Johnson’s portrayal of Jeff Douglas, stealing the show and giving me one of the best performances I’ve seen this year, so far! Even though Brigadoon had its merits, it had its flaws too. I wish the mystery’s discovery had been gradually written into the script, so the audience could try to solve the mystery for themselves. I also believe Harry’s subplot should been better utilized, as well as received a better resolution. Brigadoon, as I’ve already said, is a pleasant presentation. In my opinion, though, there are musical movies I like more than this one.

Overall score: 7-7.1 out of 10

Have you seen Brigadoon? Are there any Scottish related films you’d like to see me cover on 18 Cinema Lane? Leave your thoughts in the comment section below!

Have fun in Scotland!

Sally Silverscreen

Take 3: An Affair to Remember (1957) Review

On By 18cinemalaneLeave a comment

January’s theme for Genre Grandeur seems fitting; “Movies That Celebrate a New Year”. When I learned this was the theme of this edition of Genre Grandeur, I was excited because I don’t often receive an opportunity to review New Year’s themed films. As I was looking for a movie to select, I learned the protagonists in 1957’s An Affair to Remember meet on New Year’s Eve. With this piece of information in mind and because An Affair to Remember was recommended by Maddy (from Maddy Loves Her Classic Films) as well as Emily (from The Flapper Dame), I found the perfect time to check out the 1957 picture! Out of all the actresses I’ve talked about on 18 Cinema Lane, Deborah Kerr is the one I’ve discussed the most. As of early 2026, I have reviewed ten of her films, with An Affair to Remember now being the eleventh film. But some of these pictures have been better than others. How will An Affair to Remember stand against the aforementioned ten titles? Check out my review to find out!

An Affair to Remember (1957) poster created by Jerry Wald Productions and Twentieth Century Fox

Things I liked about the film:

The on-screen chemistry: In a movie like An Affair to Remember, where the story heavily revolves around one romantic relationship, it’s important to cast an actor and actress who possess such strong on-screen chemistry. This element of their combined performance will help them sell the believability of their characters’ relationship to the audience. As soon as their characters, Terry and Nickie, first meet in An Affair to Remember, I could immediately sense the strong on-screen chemistry between Deborah Kerr and Cary Grant! The fluidity of their acting abilities allowed them to compliment each other’s performance. Clever, witty banter also worked in their favor because of how it was written and delivered. Because of the combination of acting, screenwriting, and on-screen chemistry, Cary and Deborah helped create a couple that was captivating to watch!

The dialogue: When a film’s screenwriting is good, the dialogue of the characters can sound realistic. But if the screenwriting is thoughtfully and carefully curated, like in An Affair to Remember, the characters are allowed to say what’s on their minds and hearts in eloquent and even profound ways. As Nickie and Terry visit Nickie’s grandmother, Janou, Terry confesses how she’d like to stay in Janou’s garden forever. Janou then responds by telling Terry, “It [the garden] is a good place to sit and remember, but you have still to create your memories”. By Janou saying this to Terry, she is kindly yet artfully encouraging Terry to create her own space of reflection and tranquility. Later in the movie, when Terry and Nickie are creating their plan to reunite in six months, they agree to meet at the Empire State Building. Terry explains how “It’s the nearest thing to heaven we have in New York”. While I’ve always known the Empire State Building held great importance within New York City, I’ve never heard it described the way Terry described it before. Because the dialogue in An Affair to Remember received such quality screenwriting, I was given the opportunity to see an iconic landmark in a completely new way!

Janou’s garden: As I talked about the dialogue in An Affair to Remember, I brought up how Terry wants to stay in Janou’s garden forever. Reflecting on this part of the set design, I can understand why Terry would fall in love with this space! The enclosed garden prominently displays a large tree with green leaves and red flowers. Bright hues of other flowers burst within the garden. A small circular pond greets visitors, with yellow and white flowers floating over the tranquil water. There’s even a connected chapel both Terry and Nickie retreat to. Though Janou’s garden was shown in An Affair to Remember for only a limited number of scenes, it left a memorable impression!

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What I didn’t like about the film:

New Year’s Eve’s limited incorporation: I said in the introduction of this review how Terry and Nickie meeting on New Year’s Eve is one of the reasons why I selected An Affair to Remember for this month’s Genre Grandeur. Based on that aforementioned detail, I believed the holiday would play a bigger role in the story. But when I watched the 1957 movie, I discovered New Year’s Eve is actually an afterthought. If it wasn’t for the passengers on the SS Constitution singing “Auld Lang Syne”, I wouldn’t have known Nickie and Terry’s cruise was taking place around New Year’s Eve. Had the SS Constitution’s passengers participated in counting down to midnight or some of the characters talked about their New Year’s resolutions, it would have better established when the story was taking place.

Scenes that feel like padding: IMDB lists An Affair to Remember’s run-time as one hour and fifty-five minutes. However, some scenes feel like they are padding out the story just to satisfy this run-time. The musical number, “The Tiny Scout (He Knows You Inside Out)” easily comes to mind. I recognize this musical number, as well as the musical number, “Tomorrow Land”, were intended to emphasize the direction Terry’s career has taken. But, in my opinion, featuring only one of these musical numbers would have been enough to make this point. If An Affair to Remember’s creative team had cut scenes like “The Tiny Scout (He Knows You Inside Out)” musical number, the film’s run-time would have been trimmed down.

A drawn-out story: Like I just mentioned in this review, an hour and fifty-five minutes is the run-time for An Affair to Remember. This run-time seemed to give the film’s creative team an excuse to draw their story out. The first half of the movie builds up to the affair of Nickie and Terry. Their affair doesn’t come to fruition until the movie’s halfway point. The second half of the movie chronicles how Terry’s and Nickie’s life turned out after their cruise. Personally, I don’t think the affair’s build-up needed to last half the film. With a tighter script, An Affair to Remember not only could have received a short run-time, the story could have also reached its intended points sooner.

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My overall impression:

Based on Deborah Kerr’s movies I’ve seen, the quality of these pictures has fluctuated. While I liked The King and I and The Chalk Garden, I wasn’t a fan of Marriage on the Rocks. But I found An Affair to Remember to be just ok. While the on-screen chemistry between Deborah Kerr and Cary Grant was strong and the dialogue was well-written, I didn’t like how drawn-out the story was. Plus, some scenes felt included simply to pad out the script to satisfy the run-time. However, the most disappointing part of An Affair to Remember was how New Year’s Eve was treated as an afterthought. Before seeing the 1957 picture, I was led to believe the holiday would play a larger role in the story. My first movie selected for 2026’s Genre Grandeur was not the best, but not the worst. Hopefully, this year-long blogathon will introduce me to stronger films.

Overall score: 6.2-6.3 out of 10

Have you seen An Affair to Remember? Which film from Deborah Kerr’s or Cary Grant’s filmography would you like to see me review next? Let me know in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Jack and the Beanstalk (1952) Review

On By 18cinemalane3 Comments

I need to make a confession: in the seven years 18 Cinema Lane has been around, I’ve never reviewed any of Abbott and Costello’s films. (insert shocked gasp here) But at 18 Cinema Lane, I am willing to expand my cinematic horizons. This is one of the reasons why I selected 1952’s Jack and the Beanstalk for the Once Upon A Time Blogathon. Another reason is how I don’t often get the opportunity to write about fantasy films. In fact, the last fantasy movie I reviewed was Cancel Christmas last December. When I came across the poster for Jack and the Beanstalk, I was surprised to read the tagline “Their first picture in color”! Abbott and Costello are household names in the world of comedy. Plus, this adaptation of the fairy tale was released thirteen years after The Wizard of Oz. So, is the movie worthy of such a historic milestone? Adventure through this review of Jack and the Beanstalk to find out!

Jack and the Beanstalk (1952) poster created by Exclusive Productions Inc., Legend Films, and Warner Bros.

Things I liked about the film:

The dialogue: Sometimes, a movie’s comedy will be woven into the dialogue. Words spoken between characters can not only be hilarious, but also clever and witty, especially if the screenwriting is strong. Dialogue was one of the best qualities of Jack and the Beanstalk! One example is from the beginning of the film. Arthur arrives at Eloise’s house to pick her up for play rehearsal. Her younger brother, Donald, answers the door, even setting up a trap that causes Arthur to fall. When Arthur asks Donald where Eloise is, Donald replies in a matter-of-fact manner, “putting on her lipstick so you can kiss off”. What makes this line so memorable is how it fits the character of Donald, who is portrayed as a precocious child. Another example happens during the ‘Jack and the Beanstalk’ story. Jack is heartbroken when his mother suggests they sell the family cow. After Jack’s mother urges him to take the cow to the market, Jack tells her, “Yes mother. You can depend on me. Whatever they bid, I’ll bid higher”. This is a line that is genuinely funny, as Jack says it with good intentions.

The use of color film: During the opening credits of Jack and the Beanstalk, it’s revealed parts of the film are presented in Super Cine Color. These parts are the ‘Jack and the Beanstalk’ story itself, while the “modern” parts of the movie are shown in black-and-white film. I actually liked this creative decision! It emphasized the magic and whimsy of the fairy tale. The use of color film also allowed the vibrant hues of the costume and set design to be visible. Overall, this production of Jack and the Beanstalk felt pleasantly reminiscent of 1939’s The Wizard of Oz!

Working as a pair: Bud Abbott and Lou Costello (also known as Abbott and Costello) have been acknowledged as one of the most beloved comedic duos in film history. So, I was curious how they would work together in Jack and the Beanstalk, since the heroic adventure typically involves only one character. Lou portrays Jack and Bud portrays Mr. Dinkelpuss (a local butcher). Even though both characters travel up the titular beanstalk, they each have their own motives. Mr. Dinkelpuss and Jack help each other escape The Giant’s castle as well. Through the acting performances and the screenwriting, this version of Jack and the Beanstalk feels like Jack was always meant to travel with a buddy.

Once Upon a Time Blogathon: Fairy Tales, Legends, & Myths banner created by Annette from Hometowns to Hollywood

What I didn’t like about the film:

Musical padding: The 1952 adaptation of Jack and the Beanstalk is a musical, with five musical numbers incorporated into the production. These numbers were very well choreographed and sounded good musically. However, they felt like padding, making the movie seem longer than its one hour and twenty-three-minute run-time. A few of the musical numbers feel drawn out, such as the almost three-minute dance between Jack and Polly. Had some of these numbers been trimmed down, the overall run-time could have been under an hour and twenty minutes.

Forgotten details: Within Jack and the Beanstalk’s script, there were a few forgotten details. Jack’s cow, Henry, presents two examples. When Henry is first brought up in the movie, Jack refers to the cow as female. He even puts makeup on her to stress this fact. But before Jack says goodbye to Henry at Mr. Dinkelpuss’ shop, Jack tells the cow to “be a good boy”. Later in the movie, Jack climbs the beanstalk. One of his intentions is to rescue Henry from the clutches of The Giant. When Jack and his friends finally escape The Giant’s castle, however, Polly is the one who ends up saving Henry.

Patrick the Harp: In The Giant’s castle resides a harp named Patrick. Not only does music play every time he talks, he’s also very critical of Polly. Personally, I was not a fan of Patrick. He spoke with a thick accent, which sometimes made it difficult to understand what he was saying. His role in the story was quite minimal, offering little to the plot. If Patrick had been written out of Jack and the Beanstalk, not much would change.

Fairytale castle image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/fairy-tale-castle_837803.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/design”>Design vector created by Freepik</a>. Image found at freepik.com.

My overall impression:

As I mentioned in the introduction of my review, Abbott and Costello are household names in the world of comedy. However, there is a reason why they achieved this honor. Using Jack and the Beanstalk to explain my point, Costello and Abbott work together as a team. Even in a fairy tale where a team dynamic doesn’t exist, they find a way, through acting and screenwriting, to create a story where they can both shine. The dialogue was one of the strongest aspects of the 1952 adaptation, as it was hilariously clever. It also helps that the dialogue was written and delivered well. Even the use of color film enhanced the whimsical charm one would expect from a fairy tale. While Jack and the Beanstalk does have its flaws, it is, indeed, a pleasant presentation! Now, if you’ll excuse me, I need to figure out who really is on first.

Overall score: 7.4 out of 10

Have you seen 1952’s Jack and the Beanstalk? What other fairy tales would you have liked to see Abott and Costello star in? Tell me in the comment below!

Have fun at the movies!

Sally Silverscreen

Take 3: Vertigo (1958) Review

On By 18cinemalane9 Comments

Alfred Hitchcock is a man who needs no introduction. Director by choice and legend by chance, Alfred has single-handedly become a house-hold name in the world of cinema. While I have seen (and reviewed) some of his films, there are still plenty of titles I have yet to see. One of those films was 1958’s Vertigo, which was recommended by Charity from The Sacred in the Secular! This is a movie I had been meaning to write about for a while. With The 3rd Master Of Suspense Blogathon on its way, I found a great time to finally review Vertigo! As I already mentioned, I have reviewed some of Alfred’s films. While I still think Strangers on a Train is his best movie, The 39 Steps is one of my least favorite. Now, the time has come to share my thoughts on Alfred Hitchcock’s 1958 presentation!

Vertigo (1958) poster created by Alfred J. Hitchcock Productions and Paramount Pictures

Things I liked about the film:

The use of music: Music can be a powerful film-making tool. Through a combination of sound, instrumentals, and even lyrics, music can elevate a scene’s mood, foreshadow parts of the story, or emphasize events happening in a scene. In Vertigo, music was utilized to compliment a scene’s given mood. A perfect example is when Scottie follows Madeleine to a flower shop. While he walks through a flower shop’s storage room, suspenseful orchestral music builds up to the moment Scottie reaches the flower shop’s door. This type of music acknowledges Scottie’s fear of the unknown, as he doesn’t know what he’ll find on the door’s other side. But once he opens the door, he discovers Madeleine is in a flower shop, purchasing a bouquet of flowers. This discovery causes calming, orchestral music to play in the background, stressing how Madeleine and the shop itself are nonthreatening to Scottie.

Incorporation of culture: The mystery in Vertigo revolves around Madeleine being obsessed with a woman named Carlotta Valdes. Scottie follows clues from art and local history in an attempt to solve the mystery. The “local history” in this movie is a fictionalized version of San Francisco’s history. However, the blending of these aforementioned cultural elements gave Vertigo a unique identity from other Hitchcock productions. The creative team’s incorporation of culture can also spark thought-provoking analysis about how culture can influence or even solve mysteries. As someone who reviews mystery films and even has a series called Sally Solves a Mystery, this aspect of Vertigo has made me look at the subject of mysteries somewhat differently.

The set design: There was some impressive set design in Vertigo! One of my favorite examples is Gavin’s office. Wood paneling covers every wall. The entire floor is covered in red carpeting, which actually compliments the wood paneling. A large, dark wood desk with intricate detailing becomes the showstopper of the space! Other design choices, such as a large model of a ship, red chairs, and a huge window overlooking the cargo ship dock emphasize Gavin’s importance in the company he inherited. Artwork and photographs covering every wall presents a glimpse into Gavin’s artistic taste.

The 3rd Master Of Suspense Blogathon banner created by Maddy from Classic Film And TV Corner

What I didn’t like about the film:

Questions left unanswered: For this part of my review, I will spoil Vertigo. If you have not seen this movie and are planning on watching it, skip to the part titled ‘The underutilization of Barbara Bel Geddes’.

After Madeleine dies, Scottie meets a woman named Judy, believing she looks like his deceased love. Shortly after Judy and Scottie meet for the first time, she writes a letter and confesses being Madeleine. In the letter, Judy claims parts of the story she and Gavin told Scottie were true. But she never specifies which parts of their story they were honest about. The creative team’s decision to leave questions unanswered frustrated me. This is because I was curious to see how the mystery of Madeleine’s psychological connection to Carlotta Valdes would be resolved.

The underutilization of Barbara Bel Geddes: In Vertigo, Barbara Bel Geddes portrays Marjorie ‘Midge’ Wood. A designer who is passionate about art, Midge was engaged to Scottie in the past. Even though their engagement didn’t last, they remain on friendly terms. Barbara’s on-screen chemistry with James was pleasant. Her performance effectively sold the idea Midge was good friends with Scottie. This made me hope Scottie and Midge would work together to solve Vertigo’s mystery. But that did not happen because Barbara was only in a handle of scenes. I think Midge is an interesting character, so this creative decision disappointed me. Not giving Barbara more material to work with was, in my opinion, a missed opportunity.

An unsolved mystery: For this part of my review, I will, once again, spoil Vertigo. If you have not seen this movie and are planning on watching it, skip to the part titled ‘My overall impression’.

At the beginning of Vertigo, Scottie is asked by Gavin to solve the mystery of why Madeleine is obsessed with a woman named Carlotta Valdes. This obsession gets to the point where Madeleine goes to places she has no memories of visiting. Because of how the fictionalized San Francisco culture and supernatural elements were combined in the mystery, I was curious to see how the mystery would be resolved. But, about halfway through Vertigo, Madeleine dies. Shortly after Madeleine passes away, the mystery of Judy’s identity begins. By the end of the movie, this new mystery is solved. If the screenwriters knew their script would contain more than one mystery, they should have resolved the first mystery before moving on the next one. The creative team’s decision to abandon Madeleine’s mystery left several questions unanswered.

Art tools image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/flar-art-tools-pack_835368.htm’>Designed by Freepik</a>.  <a href=”https://www.freepik.com/free-photos-vectors/paint”>Paint vector created by Freepik</a>. Image found at freepik.com.

My overall impression:

Have you ever watched a movie where you found yourself deceived by the movie’s end? That’s how I felt after watching 1958’s Vertigo. Without spoiling the movie, I will say how even though the story contained two mysteries, only one of them is solved. This is one of the reasons why the script left questions unanswered. I also didn’t like how Barbara Bel Geddes’ acting talents were underutilized. However, there were aspects of Vertigo I liked. The film’s creative team displayed an understanding for how to effectively utilize music. Incorporating culture into the story gave Vertigo a unique identity among Hitchcock’s collection of films. I was impressed by the movie’s set design as well. But when it comes to titles created by Alfred Hitchcock, especially those starring James Stewart, I think Rear Window is stronger than Vertigo. Not only was the talent of Rear Window’s cast well utilized, the mystery was solved as well as prioritized.

Overall score: 6.5 out of 10

Have you seen Vertigo? Which film of Alfred Hitchcock’s is your favorite? Let me know in the comment section below!

Have fun at the movies!

Sally Silverscreen

Take 3: The End of the Affair (1955) Review

On By 18cinemalane3 Comments

When you have a show as iconic and successful as I Love Lucy, well-known guest stars are likely to pay the show a visit. On the aforementioned show itself, a collection of guest stars graced the screen, crossing paths with Lucy, Ricky, and their friends. One of those stars was Van Johnson, an actor I’m familiar with due to reviewing some of his films and his episodes of Murder, She Wrote. Since I haven’t written about any project from Van’s filmography since 2022, I found the I Love Lucy Blogathon as the perfect opportunity to check out another of his movies! A film of Van’s I’ve been meaning to review for years is the 1955 presentation, The End of the Affair. Recommended by Maddy from Maddy Loves Her Classic Films, I was intrigued by the mystery woven into the synopsis. Who is this third man Deborah Kerr’s character may be having a relationship with? The only way I was going to find an answer to that question is by watching The End of the Affair and sharing my honest opinion about it!

The End of the Affair (1955) poster created by Coronado Productions and Columbia Pictures

Things I liked about the film:

The acting: Like I mentioned in this review’s introduction, I have written about some of Van Johnson’s films as well as his episodes of Murder, She Wrote. What I’ve noticed from these projects is how Van has strong adaptability to his character’s experiences. This was also the case in The End of the Affair. While spending time with Deborah Kerr’s character, Sarah, Van’s character, Maurice, is all smiles and appears to be in a good mood. But when a neighbor named Mrs. Tomkins unexpectedly arrives to give Sarah some food, Maurice’s mood quickly changes. His eyes are downcast, not even looking at the neighbor. Maurice’s mouth displays a worried look as he frets over his secret relationship with Sarah being discovered. Even his tone of voice with Sarah is sharp, desperately trying to contain his feelings. This scene is just one example of Van’s versatility when it comes to his acting talents!

I was pleasantly surprised to discover Peter Cushing starred in The End of the Affair! Based on what I know about Peter’s career from his filmography, he either portrayed a character in a horror movie or he appeared for a limited period of time in a film. Comparing The End of the Affair with other projects of Peter’s I’ve seen, he was given a slightly larger role in the 1955 movie. My other observation is how his character, Henry, had a consistently friendly personality. Even when he suspects Sarah of having an affair, Henry’s demeanor is that of concern, with a worried look on his face. Speaking of Sarah, I want to discuss Deborah Kerr’s performance. In The End of the Affair, there were times when Deborah’s face said so much without the use of dialogue. A great example is when Sarah and Maurice reconnect after being apart for a year. During their walk together, fear shown through Sarah’s eyes. Her mouth was even tightly pursed, revealing little to no information to Maurice. In this scene, Sarah appears to keeping a secret, a secret she’s afraid might be discovered.

The mise-en-scène: Mise-en- scène is how a film’s scene is presented to the audience. One example from The End of the Affair is how mirrors were sometimes used as a form of foreshadowing. Toward the beginning of the film, Maurice spots Sarah hugging another man. She and the man can be seen through a near-by mirror. Because the creative team emphasized this interaction, Maurice’s suspicions of Sarah are hinted at. Later in the movie, when Sarah disappears from Maurice’s life, he calls her home, hoping she’ll pick up the phone. But every time Sarah is unavailable, the camera consistently shows a close-up of Maurice’s face, emphasizing his building frustration. This built-up frustration makes Maurice’s suspicions of Sarah grow even more. Because of how well mise-en-scène was utilized by the film’s creative team, the story was able to maintain a certain degree of intrigue.

The character of Albert Parkis: In movies like The End of the Affair, where serious topics are brought up, the detective character will usually carry a persona that matches the tone of the film. But in the 1955 movie, Albert Parkis provided a bright light to a darker story. Portrayed by John Mills, Albert was the private investigator hired by Maurice to solve the mystery of Sarah’s whereabouts. Any time he appeared on screen, Albert had such a cheerful, friendly personality. He sometimes brought his son along on investigations, in order to teach him how to solve mysteries. Albert’s interactions with Maurice were so lively, they were a joy to watch unfold. I wish Albert Parkis was given a larger role in The End of the Affair, as his involvement in the story was limited.

The I Love Lucy Blogathon banner created by Ari from The Classic Movie Muse

What I didn’t like about the film:

The “insta-love” trope: As I said earlier in this review, Maurice and Sarah share a secret romantic relationship. Their affair provides the basis for the film’s overarching conflict. But it was difficult for me to determine Van and Deborah’s on-screen chemistry. This flaw was due to the movie’s creative team choosing to adopt the “insta-love” trope. The beginning of the film shows Maurice being introduced to Sarah. In this introduction, Maurice hopes Sarah will provide insight to a book he’s writing. Several minutes later, they are starting to form their relationship. Sarah and Maurice even share a kiss within the first fifteen minutes of the story. With their relationship moving so quickly, I didn’t find myself as emotionally invested in Maurice and Sarah’s story as I could have been.

The underutilization of John Mills: When I talked about Albert Parkis, I said I wish he was given a larger role in The End of the Affair, as his involvement in the story was limited. This means the acting talents of John Mills were underutilized. On the film’s poster, you will see John Mills’ name listed as one of the top three billed actors in the production. However, this poster is somewhat misleading, as Peter Cushing receives more screen-time than John. After reviewing The Chalk Garden, I was looking forward to seeing another movie from John’s filmography. I was even curious about how John’s character’s story connected to Deborah’s character’s story. While I found out how these stories connected, I was disappointed by John’s limited involvement in the project.

A randomly produced reveal: The major conflict of The End of the Affair is figuring out the identity of the third man Sarah may be having a relationship with. I will not spoil this movie, in case any of my readers haven’t seen it yet. But what I will say is the mystery’s reveal was randomly produced. When Sarah’s secret is discovered, the answers are given toward the end of the story. Since there is no build-up leading into the reveal, the reveal itself almost feels like a major tonal shift. To prevent this flaw, information or clues related to the reveal should have been sprinkled throughout the movie. That way, the transition between the mystery and its reveal could have been smoother.

Vintage detective desk photo created by Olivier Bourgeois at freeimages.com. Photo by <a href=”/photographer/ornicar69-54520″>Olivier Bourgeois</a> from <a href=”https://freeimages.com/”>FreeImages</a&gt; Image found at freeimages.com.

My overall impression:

Van Johnson is one of the reasons why I selected The End of the Affair, as he was a guest star on I Love Lucy. When it comes to his movies, I thought those I saw were mostly ok. The 1955 project is no different. I was disappointed by the underutilization of John Mills’ acting talents, as well as the adoption of the “insta-love” trope. The mystery’s randomly produced reveal felt like a major tonal shift. However, The End of the Affair does have its strengths. The acting alone was one of the highlights of the film, from Van’s versatility to Deborah’s ability to convey ideas without using dialogue. The way mise-en-scène was used by the creative team allowed the story to maintain a certain degree of intrigue. I also liked Albert Parkis as a character. When it comes to character-driven stories involving serious topics, I find The Chalk Garden and Hallmark Hall of Fame’s A Tale of Two Cities as stronger titles. But, so far, I’ve only seen a handful of Van’s movies, so maybe I need to keep looking for a film of his I like.

Overall score: 6.1 out of 10

Have you seen The End of the Affair? Which is your favorite movie from Van Johnson’s filmography? Tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

That’s a Wrap for my Second Chance Christmas Double Feature

On By 18cinemalaneLeave a comment

Now we’ve come to the end of another double feature, as both chosen titles, Young at Heart and An Old Fashioned Christmas, have been watched and reviewed! In the introduction, I brought up the following question:

Did these two movies deserve a second chance?

For my answer, I’ll say Young at Heart was more deserving of a second chance than An Old Fashioned Christmas. With Young at Heart, I not only received an opportunity to check out more projects from Frank Sinatra’s and Alan Hale Jr.’s filmography, I was also given an official introduction to Doris Day’s movies. I found a good excuse to see more musicals, as well as films from the 1950s. Overall, I enjoyed Young at Heart more than Hallmark’s 2010 presentation. As someone who loves An Old Fashioned Thanksgiving, the sequel left a lot to be desired. Despite being titled An Old Fashioned Christmas, the film didn’t feel like a Christmas film. Instead of prioritizing the messages and themes of the holiday, the script primarily focused on stories that could have taken place any time of year. It also doesn’t help how so much of the story revolves around a love triangle. Looking back on An Old Fashioned Christmas, it makes me wonder if the sequel’s poorer quality, as well as becoming forgotten by time and Hallmark themselves, is the reason why I’ve, more often than not, seen DVD copies of the movie included in Christmas movie box sets?

Christmas themed movie tickets image created by Kraphix at freepik.com. <a href=’https://www.freepik.com/free-vector/movie-tickets-christmas_971544.htm’>Designed by Kraphix</a>. <a href=”https://www.freepik.com/free-photos-vectors/christmas”>Christmas vector created by Kraphix – Freepik.com</a>. Image found at freepik.com.

Have fun at the movies!

Sally Silverscreen

The Top Ten Best Stand-Alone Films

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On this day in 2000, The Road to El Dorado made its official debut. While the movie didn’t meet or exceed DreamWorks’ expectations, it certainly found an audience, which stuck with the film for all these years. I once heard The Road to El Dorado was intended to be the first story in a trilogy. But fate decided it worked better as a stand-alone picture. This caused me to think about the other stand-alone movies I’ve come to love. So, in honor of The Road to El Dorado’s 25th anniversary, I have compiled a list of what I believe are the top ten best stand-alone films! For my list, the criteria for a stand-alone film is not only a title that didn’t receive a sequel, but also isn’t affiliated with a series/franchise. If I covered a film on 18 Cinema Lane, I will provide a link to that article or review in this list. Each title will be presented in order of release year and each choice is based on my opinion.

The Road to El Dorado poster created by Dreamworks Pictures, DreamWorks Animation, and DreamWorks Distribution

1. Singin in the Rain (1952)

    I start my list with a classic I was introduced to because of my blog. Now that I have finally seen Singin in the Rain, I have an understanding and appreciation for why the movie is so beloved. Gene Kelly’s iconic musical number, “Singin in the Rain”, should provide enough explanation for why you should check the film out! The number itself feels immersive, as it takes place within the story’s context. Gene adds uniqueness to the number by jumping and splashing in puddles. “Singin in the Rain” successfully represents the spirit of the film, while also delivering the message of seeing the good in a not-so-good situation. That number is just one reason why Singin in the Rain is a solid musical!

    Watching ‘Singin in the Rain’ for the First Time

    2. Ben-Hur (1959)

    If you’re going to watch any classics, you have to see 1959’s Ben-Hur! Though the three-hour run-time can seem intimidating, that time flew by for me, as I was so engrossed in the story. The emotional intensity of Charlton Heston’s, Stephen Boyd’s, and Haya Harareet’s performance complimented the scope of the overall film. Ben-Hur contains other likable qualities as well, from the magnificent sets/scenery to the interesting cinematography. How Christianity/faith was incorporated into the story sets the 1959 production apart from other “sword and sandal” pictures. Those who celebrate Easter may find Ben-Hur an appropriate seasonal title.

    Take 3: Ben-Hur (1959) Review + 60 Follower Thank You

    3. To Kill a Mockingbird (1963)

    While the book, To Kill a Mockingbird, received a sequel, the film adaptation did not. The 1963 movie presents one of the few times where, in my opinion, the film was better than its source material. Getting straight to the point a lot sooner was a main focus for the creative team. The film’s visual nature worked in the favor of certain elements from the book. Showing suspenseful moments from the source material makes those moments seem real, as well as intensifies uncertainty. Leaving out scenes that feel like padding helps the movie maintain a steadier pace.

    Take 3: To Kill a Mockingbird Review

    4. The Boy Who Could Fly (1986)

    When I first saw The Boy Who Could Fly, it subverted my expectations. That’s because the 1986 picture aged surprisingly well! Through Milly and Eric’s friendship, the script shows how people with Autism can create and maintain meaningful relationships. Helping someone with Autism based on their personal preferences and accommodations may have seemed ahead of its time back in the mid to late ‘80s. Timeless messages and themes make up one of the reasons why I love the 1986 film. Showing compassion for others, dealing with grief, and understanding people’s differences take center stage.

    Take 3: The Boy Who Could Fly Review (PB & J Double Feature Part 2)

    5. The Bodyguard (1992)

    In 2022, I wrote an editorial explaining why The Bodyguard held up thirty years later. Because I love the 1992 film, finding explanations wasn’t difficult. “The kitchen scene” is, in my opinion, the best scene from any action movie. One reason why is how the kitchen’s smaller space is seen by the actors as a challenge instead of a hindrance. What also worked in The Bodyguard’s favor was Whitney Houston’s portrayal of Rachel Marron. Throughout the story, Whitney realistically showcases emotions and expressions. This helped Rachel become a multi-layered character.

    I Will Always Love You: ‘The Bodyguard’ at 30

    The Boy Who Could Fly poster created by Lorimar Motion Pictures and 20th Century Fox. Image found at https://www.imdb.com/title/tt0090768/?ref_=nv_sr_srsg_0.

    6. Swept from the Sea (1998)

    Swept from the Sea was one of the earliest hidden gems I discovered in 2019. It’s a movie that’s so great, I just had to include it on this list. There are so many things to like about Swept from the Sea. From Vincent Perez’s captivating performance to the beautiful scenery, the film’s components came together to create an endearing and emotional presentation! The 1998 film is a character-driven story, relying on on-screen chemistry in order to work. Because of Vincent Perez’s and Rachel Weisz’s differing acting styles, the on-screen chemistry between Yanko and Amy was very sweet and genuine.

    Take 3: Swept from the Sea Review (A Month Without the Code — #8)

    7. Phantom of the Megaplex (2000)

    This is another movie I just had to include on my list. But this time, it’s because Phantom of the Megaplex is also celebrating its 25th anniversary this year! The Disney Channel picture showed that the movie-going experience can be fun. As I explained in my editorial celebrating the film’s 20th anniversary, the made-for-TV movie also serves as a time capsule of how the cinema operated in the beginning of the millennium. Phantom of the Megaplex even shows how movies can influence our lives. Though I’m not sure if that aspect of the story was intentional, it makes the 2000 title, somewhat, thought-provoking.

    ‘Phantom of the Megaplex’ at 20: A Reflection on the Movie-Going Experience

    8. I Am David (2004)

    I Am David was the biggest pleasant surprise of 2024. It became the year’s best movie in March and stayed number one until the very end! What set I Am David apart was the film’s genuine emotion and sincerity. This was seen and felt through every aspect of the production. The 2004 movie emphasized visual depth. Achieved by exploring light and darkness, as well as showcasing Europe’s natural landscape, the creative team used the visual nature of film to their project’s advantage. Two effective plot twists are another reason why I liked I Am David. Their delivery in the story was well-written.

    Take 3: I Am David Review (Double Feature: 2004 Edition Part 1)

    9. From Up on Poppy Hill (2011)

    This 2011 presentation is one of Studio Ghibli’s stronger projects. A reason is one of the overarching themes; honoring the past. The film intelligently and creatively shows its audience how important history is in our lives and our world. Whether referencing the 1964 Olympics or focusing on the characters’ relationships, the theme of honoring the past acts as an umbrella sheltering Poppy Hill and its surrounding areas. Studio Ghibli’s signature colorful palette is consistently on display in the 2011 film. The strong understanding for how and when to use color makes scenes look like priceless pieces of art! Personally, I think movies like From Up on Poppy Hill present an argument why 2-D animation still has its time and place.

    Take 3: From Up on Poppy Hill Review + 200 Follower Thank You

    10. The Wild Robot (2024)

      I think it’s fitting to close this list with a DreamWorks movie, as a DreamWorks movie is the reason why I created this list in the first place. Though this was a recent watch for me, The Wild Robot is, so far, the best film I’ve seen this year! The animation itself is absolutely gorgeous! Sometimes, scenes look like paintings and other times, they look like priceless photographs. I was not expecting the story to contain as much emotional depth as it did. An abundance of good messages and themes add a sense of timelessness to the production. Though it’s unknown right now if The Wild Robot will gain an audience like The Road to El Dorado has, I can confidently say it was a really good movie!

      Phantom of the Megaplex poster created by the Walt Disney Company and Disney Channel. © Disney•Pixar. All rights reserved. Disney XD© Disney Enterprises, Inc.

      Have fun at the movies!

      Sally Silverscreen

      Take 3: Young at Heart Review (Second Chance Christmas Double Feature Part 1)

      On By 18cinemalaneLeave a comment

      Thank you for joining me for the first part of my Second Chance Christmas Double Feature! Similar to last year’s review of I Am David, my review of Young at Heart is spoiler-free. If you’re curious about why I chose Young at Heart for this double feature, you can check out the introduction in the link below.

      Coming Soon to a Blog Near You; The Second Chance Christmas Double Feature!

      Young at Heart poster created by Arwin Productions and Warner Bros.

      1. How were you introduced to Young at Heart and why was it selected for this double feature?

      I was introduced to Young at Heart back in January of 2020, through a recommendation from Maddy (of the blog, Maddy Loves Her Classic Films). Several months later, I received another recommendation for Young at Heart. This time, the suggestion came from Moviecriticqueen (of the blog, Movies Meet Their Match). For five years, this movie has stayed on my movie recommendation board on Pinterest. But I have tried to find the right opportunity to write about the film. When I participated in the Sixth Annual Barrymore Trilogy Blogathon, I was originally going to review two movies; Young at Heart and Twentieth Century. Due to technical difficulties, I only had time to write about one film, which I selected the 1934 title. In 2021, I wanted to participate in the Star/Genre Of The Month Blogathon, as January’s featured star was Doris Day. But a busy schedule prevented me from joining the event.

      2. You discovered Young at Heart was a Christmas movie after you learned more about the film on IMDB. What else have you discovered about the 1954 picture?

      While watching Young at Heart, I discovered Alan Hale Jr. portrayed a character named Bob. Those familiar with their television history would recognize Alan from his starring role (‘Skipper’) on Gilligan’s Island. I will admit the only projects from his filmography I’ve seen are Gilligan’s Island and The North Avenue Irregulars. Even though I’m more familiar with Alan’s appearances on Gilligan’s Island, it was a pleasant surprise to see him star in a different medium!

      3. Is the theme of “second chances” incorporated in Young at Heart’s story? If so, how?

      Yes, specifically in Barney’s part of the story! When he’s introduced in Young at Heart, Barney (portrayed by Frank Sinatra) is a very pessimistic man. He feels no matter what he does, he will never find success. Throughout the film, one of the few people who believes in Barney is Doris Day’s character, Laurie. During their initial meeting, Laurie tells Barney how anyone can control their own fate. She also encourages him to complete one of his songs. By befriending Barney, Laurie gave him a second chance to prove how valuable he is. Without spoiling the movie, Laurie and Barney’s friendship pays off!

      4. Was there anything about Young at Heart you liked or didn’t like?

      One of the best aspects of Young at Heart was the dialogue! The writing and delivery were so sharp and witty, it made interactions between the characters interesting! When Barney first arrives at the Tuttle family’s house, he meets Aunt Jessie. During their conversation, Barney nonchalantly asks Aunt Jessie what kind of aunt she is. With a stern tone in her voice, Aunt Jessie promptly tells him her name came first and the curtains came later. This simple exchange between Aunt Jessie and Barney shows some of their character development, as well as the dynamic these characters share.

      As I answered for question number three, Barney is a very pessimistic man who believes he can’t find success. I recognize how overcoming insecurities and doubts takes time. But, in Young at Heart, Barney spends most of the movie being pessimistic. He doesn’t change his perspective until the end of the film. This creative choice made Barney a static character. I wish his transformation had gradually taken place over the course of the story.

      Adorable Christmas card image created by Rawpixel.com at freepik.com. <a href=’https://www.freepik.com/free-vector/christmas-greeting-card-vector_2824854.htm’>Designed by Rawpixel.com</a>. <a href=”https://www.freepik.com/free-photos-vectors/christmas”>Christmas vector created by Rawpixel.com – Freepik.com</a>. Image found at freepik.com.

      5. On 18 Cinema Lane, you’ve covered plenty of Christmas films. How is Young at Heart similar to or different from other Christmas pictures written about on your blog?

      It is true that Christmas has a place in Young at Heart. However, the story spans over the course of several months. This means only a portion of the movie is set during Christmas. So, if I had to compare Young at Heart to any of the Christmas films I’ve reviewed, it would be Meet Me in St. Louis. The 1944 movie not only takes place over a year, there is one scene set during Christmas.

      6. Did you develop any thoughts and/or questions while watching this film?

      As I was watching Young at Heart, I found moments of irony when it came to Barney. When Barney first meets Laurie, he talks about serving in the military during World War II. This reminded me of how Frank’s character, Clarence “Brooklyn” Doolittle, was in the Navy in Anchors Aweigh. During his conversation with Laurie, Barney says he’s never created a hit song. Throughout Frank’s career, he had several hit songs to his name. One notable example is “New York, New York”, which has become the unofficial theme song for New Year’s in Times Square. Any time Barney performed at a restaurant, the patrons didn’t pay him any attention. I’d like to think if Frank had shown up at any restaurant, most of the patrons would have stopped what they were doing to focus on Frank.

      7. How would the story of Young at Heart change if it revolved around another holiday?

      Like I answered for question number five, Young at Heart spans over the course of several months, with Christmas playing a role in only a portion of the movie. Therefore, I don’t think the story would change much had another holiday served as the primary focus.

      8. Did Young at Heart deserve a second chance? If so, why?

      I do believe Young at Heart deserved a second chance! By finally checking this movie out, it gave me an opportunity to see more projects from Frank Sinatra’s and Alan Hale Jr.’s filmography. Young at Heart also became my introduction to Doris Day’s films, as I had never seen any of her movies before 2025.

      9. After watching Young at Heart, is there anything you can take away from your movie viewing experience?

      Young at Heart and The Chalk Garden share one thing in common; a character-driven story that works because of the strength of the cast. But a major difference between these films is how Young at Heart’s script is more “slice of life”. There were conflicts woven into the story. However, these conflicts were either abandoned or resolved at the very end of the movie. I wish Young at Heart had put a little more emphasis on problem-solving among the characters. Another thing The Chalk Garden and Young at Heart have in common is the dialogue, as it was well-written and delivered in both films. There was, clearly, thought and effort put into this film-making component, which made interactions between characters interesting. While I found The Chalk Garden good, Young at Heart was, in my opinion, just fine. The 1954 production could be used as an introduction to Doris Day’s filmography.

      Group of puppies image created by Rawpixel.com at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background photo created by rawpixel.com – http://www.freepik.com</a>. Image found at freepik.com.

      Have fun at the movies!

      Sally Silverscreen

      Coming Soon to a Blog Near You; The Second Chance Christmas Double Feature!

      On By 18cinemalane2 Comments

      Whenever I publish one hundred posts, I commemorate the achievement by creating a double feature! The two movies are chosen based on a shared theme. My 900th post was a Comparing with the Critics introduction to 1976. But my review of The Chalk Garden is what inspired this edition’s double feature. When I reviewed the 1964 film earlier this month, I talked about receiving a second chance to write about the movie. This opportunity caused me to think about other titles I’ve been meaning to check out. Looking back on all the blogathons I participated in, I realized I still haven’t seen 1954’s Young at Heart. Upon discovering it was a Christmas movie, I immediately found the perfect excuse to finally see An Old Fashioned Christmas. After selecting and watching these films, I will try to answer the following question:

      Did these two movies deserve a second chance?

      Christmas Tree with boxes image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/christmas-tree-out-of-gift-boxes_1448089.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by Freepik</a>. Image found at freepik.com

      Have fun at the movies!

      Sally Silverscreen