I_Ailurophile

I assume it's true for most folks that we grow up knowing some actors by their names or faces long before ever seeing any of their movies, and maybe least of all whatever specific movie we may have been exposed to through advertising. For many years I took for granted, for example, that Meryl Streep was renowned as a great actress, and Clint Eastwood as a great actor and filmmaker. The way I first saw 'The bridges of Madison County' promoted way back when, it seemed at the time like a sleepy romance that wouldn't hold my interest. In fairness to my younger self, the premise is indeed the foundation of countless stories of all varieties as a housewife, left to her own devices and secretly feeling some measure of dissatisfaction, gets swept off her feet by a stranger in a brief love affair. All of this portends a title that's nothing remarkable per se, and which one may well go their whole life without seeing, and being none the wiser.

However, provided one is receptive to romantic dramas, as soon as one begins watching it is clear very quickly that the picture is much more than whatever our most jaded presumptions might lead us to believe. Sure, there are occasions where an instance of writing, direction, acting, or even editing might be a bit much, or comes across as a weakly considered choice, and one way or another this includes some pacing matters. But these are the exceptions, and definitely not the rule. Much more than not this boasts a soft warmth that is an immense pleasure, demonstrating a thoughtful, delicate touch in every regard that's roundly enchanting. Earnest character writing underlies smart, meaningful dialogue as the differences between Francesca and Robert fuel their mutual fascination, and their passion, and in turn their tenderness. Passing reflections on life in the modern world, and social relationships and marriage, make the absorbing intensity of the love affair all the more interesting - and as these thoughts extend to the narrative's framing device, that top layer is lent an import that is not usually the case where it is employed.

It turns out that 'The bridges of Madison County' actually is a very remarkable film - not because it tells a unique story, but because of the utmost loving care with which that story is told, and the utmost success it can subsequently claim. There is a subtlety and intelligence to some little moments so brilliant as to make this worthy all on their own, and for whatever tiny minutiae we may rarely scrutinize, mostly earlier in the length, they are ultimately quite forgotten. A far cry from the man he has shown himself to be in the years since, as both an actor and maybe even more so as a director Eastwood here demonstrates astounding sagacity, and a fine-tuned understanding of nuance, and of the beauty that there is to be found in the world. He brings these traits to the forefront in realizing the feature, just as they are rife throughout Richard LaGravenese's screenplay. Even the gentle lighting is particularly inviting, right alongside Lennie Niehaus' lovely score that so ably enriches the proceedings. From the excellent filming locations, to stupendous costume design and hair and makeup, I can see all the attentive hard work that went into this, and every last tidbit actively contributes to the ultimate high quality. And what can one say of Streep's momentous performance as Francesca except that it's confounding she didn't win many awards for it?

For all the years I put off watching this flick, or didn't give it a second thought, I didn't know what I was missing. The simple fact of the matter is that this is achingly beautiful, and I believe it deserves far more lasting recognition than it has gotten over time. I could hardly be more pleased with how superb it is, and anyone who appreciates the narrative space it plays in owes it to themselves to sit with it at least once. 'The bridges of Madison County' is one of the best films I've watched in recent months, unarguably a modern classic, and I'm very happy to give it my high, hearty, and enthusiastic recommendation!

The sound design is richer and more dynamic, and more effective, in this 1952 feature than some titles of all the years since can claim. As this was processed in the untarnished glory of mid-century Technicolor, much the same could be said of the fundamental appearance of the image before us. Moreover, the production benefited from fantastic filming locations and equipment, lovely sets, fetching costume design, and some particularly keen use of lighting, and while Loyal Griggs' cinematography doesn't always catch one's eye, where it does, his contribution is superb. Meanwhile, in guiding his cast and in orchestrating shots and scenes, filmmaker Mark Robson often demonstrates a wonderfully mindful if not subtle hand, to the point that viewers unfamiliar with the wider world of cinema, or with older fare, might sometimes get the mistaken impression of little going on - yet the attentive, critical viewer will find themselves completely absorbed in all the excellence to greet us, and taking in every trace. This applies to the acting, to moments of emotional weight, to sequences of tension or suspense, and even to the more action-oriented bits. Robson very capably demonstrates that with an expert, careful hand a film can be meaningful and impactful no matter the tone or subject matter. Accentuating the point and in stark contrast, consider all those flicks of the decades since which are categorized in the same genre, but which are defined by flashy bombast, frenetic action, overcharged forthrightness, and empty shells of characters. How some of those ever get recognition, big box office receipts, and award nominations, while 'The bridges at Toko-Ri' gets forgotten over time, absolutely flummoxes me.

This is to say nothing of the marvelous stunts and practical effects that define the action in the unexpectedly small portion of the runtime where it dominates. And to top it all off, I utterly adore the original music of composer Lyn Murray, a sumptuous and emotive collection of themes which serve as outstanding complement to the proceedings at any given time, and no matter the mood at hand. Just as much to the point, Murray had the sagacity to decline scoring some moments, allowing a beat to speak entirely for itself, and those instances of musical silence reverberate just as vibrantly. Just as importantly as anything else, however, if not more so, is the tenor the picture adopts, and the story it tells, and this is a supreme credit to novelist James Michener and screenwriter Valentine Davies. Frankly, as far as I'm concerned, the screenplay and its narrative are more wide-ranging, more focused, more thoughtful, AND more hard-hitting than a lot of kindred works could claim. Many are those "war movies" that capitalize on the horrors of war, or its tragedies, or conversely on its pride and glory. Many also are those war movies, or those movies otherwise centering the military, that - whether emphasizing violence and action or not - give us unlikable and unsympathetic characters, and chest-beating, mindless jingoism, racism, sexism, and homophobia, while substituting zip, zoom, and bluster for the deliberate craftsmanship that would allow their tales to truly resonate. 'The bridges at Toko-Ri' couldn't be any further from the latter group, however, and while touching upon some of the same territory as the former, I find it to be still smarter and more shrewdly considered than some brethren.

Michener and therefore Davies allow us to glimpse the important jobs that various servicemen have on aircraft carriers, and the lives of these men both on the vessel and outside of it. They ponder the nature of war (specifically the Korean War), and the sort of people who are capable of doing the extraordinary things that are asked of them, and the sort of people who do these things willingly when they have every reason not to. Michener and Davies give us earnest personal and interpersonal drama, often with a rather nuanced sensibility, then turn around and also give us tension, suspense, and action that decline the full-scale zest of many subsequent productions, but which are nevertheless (or maybe consequently) equally effective if not more so. They honor servicemen while declining to kneel deferentially (there is cruder but more accurate language that could be used here). Yes, there are also little odds and ends that I don't think are necessary, or which I think were less mindfully considered, and I don't think the writing nor the feature as a whole is perfect. In all those ways that matter most, however, it is spot-on, including not just the plot and even its characters but also the scene writing, and (most of) the dialogue. And that Robson and the cast and crew then turned around and realized that script so terrifically - well, what can one say except that the result is stupendous, and very underappreciated?

There are times when I think this comes across less as a "war movie" and more of a drama that happens to take place in and during and amidst a war. Maybe this is not something that will appeal to all comers. I'm deeply gratified by how great it is, however, far exceeding my expectations, and I can hardly recommend it any more highly. As far as I'm concerned 'The bridges at Toko-Ri' is a fabulous classic that deserves much more recognition, and this is well worth seeking out to watch.

Comedy legends that the Marx Brothers were, I don't think they were capable of making a bad movie, yet not all their works are equal. The more their films were grounded with a solid narrative, with any hijinks ably woven into the tableau, the better they were. On the other hand, the more that a film tended toward a loose variety show smorgasbord, the more it would get bogged down in its own goings-on, and the less fun it was for audiences. Thankfully, 'Go west' much more represents the former than the latter, and the result is a reliably good time through and through. It's not one of their best known pictures, but ultimately it's pretty much just as worthy.

Groucho, Chico, and Harpo are as quick-witted and dynamic in their performances as ever, ably doing whatever is necessary for a scene be it acting, singing, playing an instrument, or pulling off some stunt - and their co-stars are just as deft. Between the skills of the actors and their fellow actors, and the cleverness and intelligence of filmmaker Edward Buzzell and writers Irving Brecher and Nat Perrin, from the very start this flick is filled with delightful bits that entertain and earn laughs just as intended. Sharp dialogue and one-liners, silly gags, ridiculous characters and situational humor, and no shortage of physical comedy and stunts and effects fill these brisk eighty minutes while faithfully staying centered on a story fit for most any western. To this panoply add a few songs peppered throughout, and an obligatory sequence of Harpo performing on his namesake. There were instances in the troupe's career when an excess of or hyperfocus on the frivolities were their own undoing, but the writing (and the direction) is tight enough in this instance to keep the proceedings relatively reined in, and that makes all the difference.

It's not a laugh riot so outstanding as to be an essential classic, but it's heartily enjoyable through and through - and that's all it needs to be. Don't necessarily go out of your way for it, but 'Go west' is well worth checking out if you have the chance, and I'm glad to give it my warm recommendation.