Romantic-author

WHITE HEAT (1949) Although many will say James Cagney’s finest hour as an actor was his portrayal of American icon George M. Cohan in “Yankee Doodle Dandy” (1942), however I respectfully disagree. I believe Cagney’s finest performance was in the role of the maniac criminal Cody Jarrett in White Heat. No argument, Cagney was outstanding in Yankee Doodle Dandy, it’s a classic film, duly patriotic, and one of the all time greatest films ever produced. Directed by Michael Curtiz, grand musical score, and the entire cast was on their mark. It’s a beautiful example of perfect movie making and thoroughly entertaining - no contest there. Yankee Doodle Dandy is the superior film but in regard to putting in an exceptional performance, Cagney’s characterization of the tormented, unambiguously cruel Jarrett is superior to his depiction of Cohan. It was 1948 and Cagney was having financial difficulties. After winning his Academy Award for Yankee Doodle Dandy in 1942, he decided too leave

The Godfather Coda : The Death Of Michael Corleone Fundamentally a director’s cut of 1990’s “The Godfather Part III”, doesn’t necessarily improve on the vision of the original film but it is a successful revised version because it’s faithful to the story but more significantly captures the crisp nostalgia present in all the best period films. Michael Corleone alleges he wants to go straight, selling off his interests in his casinos among other things, too reconcile with his family and verify his love. Unfortunately, and justifiably, daughter Mary and son Tony have their doubts. Ex-wife Kay is wise enough to know that despite the pomp and circumstance surrounding Michael, it can’t masquerade he’s a bully and a thug. Sonny’s illegitimate son Vincent comes into fold, diligently loyal to Michael but a little too eager to make his mark in the family business. Director Francis Ford Coppola is an astute filmmaker, arguably the finest in his generation, I can only think of Martin

The Seahawk (1940) If this isn’t one of Errol Flynn’s finest performances it is among his most popular films. The Seahawk borrows the title from the 1924 version which starred Milton Sills, but it isn’t a remake, this film was based on a story by Seton I. Miller who co-wrote the screenplay with Howard Koch. The film was announced as an Errol Flynn vehicle as early as 1936, coming off the success of “Captain Blood”, but production had to wait until 1939/1940 because Warner Brothers’ had already signed Flynn for several other pictures including “The Charge of The Light Brigade” (1936) & “The Adventures of Robin Hood” (1938). During filming Flynn and Jack Warner had another of their legendary falling outs, and Warner planned to replace Flynn in his next picture with Dennis Morgan. A screen test was filmed, and upon reviewing it, Warner realized Dennis Morgan was no Errol Flynn, thus rescinding his plan. Despite Flynn’s tiff with Jack Warner, Flynn showed up on time and was prepared

~ Abbott & Costello Meet Frankenstein ~ It was 1947 and the executives at Universal Studios were wondering what do next with Abbott & Costello. The comedy team was big box office but churning out scripts for them was beginning to become a challenge. Unlike The Marx Brothers who heavily relied on satire, Abbott & Costello’s humor fundamentally rehashed old vaudeville shtick. Their style clicked with pre WWII audiences but with the war coming to an end, the studio felt Americans would now consider their brand of humor passé. Universal’s horror franchise was likewise popular although the studio hadn’t produced a film using their stable of monsters since “The Mummy’s Curse” (1944). Somebody came up with the idea to merge the two series. A screenplay for a straight horror film, The Brain of Frankenstein, was dusted off and tailored for the comedy duo, Universal contacted Bud & Lou’s manager and he brought the project to their attention. Lou Costello and Bud Abbott had

“Rio Bravo” (1959) Howard Hawks and John Wayne didn’t care for “High Noon” (1952), Wayne was originally offered the role which was later offered to Charlton Heston & Gregory Peck before Gary Cooper snared the part which brought him his second Oscar. Incidentally, Coop was away in Europe at the time and Duke accepted the Academy Award for him out of friendship. Wayne and Hawks thought the premise for High Noon was silly, a lawman soliciting aid from the townspeople against a pack of desperados. The lawman ultimately stands alone to face the outlaws, only his Quaker wife (Grace Kelly) pitches in and takes out one of the villains. Rio Bravo was their deliberate rebuttal; Wayne’s Sheriff John T. Chance turns down help when he’s holding the brother of a prominent rancher in jail for murder because they’re all a bunch of green amateurs. A running theme in Hawks westerns, and even such films as “Only Angles Have Wings” (1939), is the unspoken code men live by. There’s no reason to ask