The Great Escape-Paramount Summer Classic Films Series

 

One of the reasons I took the approach I have for this blog, was so I can do exactly what I am doing now, writing about a film I love, because I saw it in a theater. I have watched "The Great Escape" dozens of times, I own it on Laserdisc, DVD, and Blu-ray, but I have never seen it in a theater on the big screen, what a magnificent film! The story of the biggest prisoner escape during WWII is told in a straight forward narrative with plenty of suspense and great characters along the way.

Take a look at this cast, it is very impressive. There are a ton of British actors that you will recognize, even if you don't know their names, and the American cast is stacked with legendary stars like Steve McQueen and James Garner. The film is nearly three hours long but never feels too long because all the pieces are put together so well. The plan is laid out for us, we know who everyone is and what their responsibilities are. There are great character points and a bit of humor here and there, but no one simply exists as comic relief. The one plot line that suggests it was designed to amuse us with humor, ends tragically and sets one of the characters on a different trajectory. 

Donald Pleasance, who had made dozens of things before this, first appeared on my radar as Blythe in this film. His fish out of water forger was sympathetic and ultimately tragic, which I think made him stand out for me for the rest of his career. He was Blofeld in "You Onley Live Twice", he was in "Fantastic Planet", "THX1138", a terrific TV Movie version of "The Count of Monte Cristo" and he is Dr. Loomis in the "Halloween" series. Heck, I even liked his parody of Robert Stigwood in "Sgt. Pepper's Lonely Hearts Club Band". The relationship he and James Garner develop in the film is one that will resonate well with people who come together under trying circumstances.  Garner is great as a scrounger, he basically played the same character the next year in "The Americanization of Emily". Garner's aw shucks flim flam style will sustain him through a dozen future feature films and the television show "The Rockford Files". 

For a decade,  I was was sure that Charles Bronson was once an Academy Award Nominee for supporting actor for this picture. It wasn't until sometime in the 1990s, when I looked it up on line, that I discovered I was mistaken. Watching his performance however, I can easily see why I thought it was true. His character, Danny, The Tunnel King", is a man of strength who has a weakness that he faces repeatedly, but has finally reached a tipping point. His temporary abandonment of the tunnel as the escape route has some great moments of close up and voice performance. He is so solid in this part, and he mostly is stoic for the rest of his career, I see so much more that did not get played out as it could have in lesser films in his future. 

I don't know if anyone has ever talked about "The Great Escape" without mentioning Steve McQueen, and if they have, how could they do it and Why? McQueen is the top billed star in this film, but it is an ensemble picture, and he is not in it any more than many of the other actors. The reason everyone remembers him in the movie is because he is magnetic. His character is a defiant iconoclast,  who never the less fits into the military structure very effectively. His casual interplay with Richard Attenborough and Gordon Jackson contrasts nicely with the defiant reminder to the German Commandant,  that he is Captain Hilts. That was a moment of charisma so important, that it is reimagined for "Once Upon a Time in Hollywood". Of course the biggest moment for him in the film is the motorcycle escape. My wife and I used to joke that if we watched the film one more time, this time he will make it over that second fence. 

Director John Sturges had a way with masculine adventure stories that seemed to peak in the 1960s. In addition to this film, he made "The Magnificent Seven" (also with Steve McQueen, James Coburn and Charles Bronson) and "Ice Station Zebra" the baby boomers gateway drug to submarine movies. Sturges often used Elmer Bernstein to score his films and in addition the his theme for The Magnificent Seven",  his iconic score for this film is well loved. I read somewhere, probably on IMDB, that soccer fans hum it during games. (I would have thought whistling Colonel Bogey's March would make more sense).

The fact that this is based on a true story and the techniques used by the prisoners were pretty closely followed in the film, give rise to even greater respect fore the fighting men of the Allied forces in WWII. The film makers do what must always be done in creating an entertainment, they romanticize some things, ignore the inconvenient, and have to change characters around. Still the film feels very honest, in part by the fact that there are no speaking roles for women in a P.O.W. camp. Hogan's Heroes would fix that later. This is one of those thousand films you must see before you die. so I have several lifetimes worth of viewing it to my credit.

Halloween (2018)

Jamie Lee Curtis and I are the same age. I wish I could say that I was in as good shape as she is. I'm also not the badass her character Laurie Strode has become in this update of the "Halloween" film franchise. This movie removes the history of the other nine films, and treats the original as cannon and everything else as a figment of the audiences imagination. I can go with that, but there are a couple of other films that I might want to save before I make this entry the cannon for the future.

So forty years after the original events, Laurie has become a PTSD victim, who has passed on her paranoia to a second generation, or at least she tried to. In a plot lifted from "Terminator 2" , Laurie has been found to be an unfit mother and had her daughter taken from her when the girl was only 12. That daughter grew up to be Judy Greer, a forty something Mom with a daughter of her own in her senior year of high school. There are some pretty obvious beats being set up for the story. The goody goody grand daughter and her friends strolling through the town replicate the early segments of the original "Halloween". Dr. Loomis has been replaced with Dr. Sartain, an apprentice of Loomis. And of course it is Halloween. So expect murders and costumes and people trapped in houses to be filling the screen for most of the time this film is running.

The idea of the traumatic family dynamic is an interesting one but it is under-developed. We don't really know how the relationship between the characters works. Sometimes it seems like the grand daughter and Laurie are strangers to one another and at other times they have a deep bond. Greer's character seems to be indifferent to her Mother's warnings, despite having been raised with the specter of "The Shape" looming over her through her whole childhood. It's not clear if she is a chip off the old badass block or a snowflake who has turned a blind eye to the evil in the world because her Mom is a bit nuts.  Jamie Lee is the stoic guardian angel who seems to have been plotting to kill Michael for forty years, but she loses her composure when she most needs it to warn the people she cares so much about. The inconsistencies in the characters undermine the story way more than it can take. 

There is a turn about three quarters of the way into the movie that is so out of left field as to be silly. I guess it was supposed to be set up by the opening visit to the mental hospital by two journalists. When the one reporter waves Michael's Captain Kirk mask at him, all the other prisoners react while Micheal remains motionless and as silent as ever. It is as if Michael's evil is contagious, and long term exposure will result in an infection of the same. The only redeeming aspect of this plot thread is that the new villain gets a gruesome comeuppance that looks like it is mostly practical make up effects.

As flawed as the film is, there are several successful aspects to it.  I'd say the best sequence is a replay of the scenario in the original film. A babysitter, with a romantic partner while on the job, has to confront the masked killer. There was some nice chemistry between the babysitter, her charge and even the boyfriend. It plays out with the characters fulfilling their destiny but with as much self respect as you could hope for ever one involved. Another very effective sequence involves Phillip Seymour Hoffman's illegitimate son, confronting Michael in the shadow of a light connected to a motion detector. The staging of those moments was pretty tense and there is a solid payoff.  I also liked the two cops keeping watch over Laurie Strode's compound. The tone was humorous in a natural way and did not detract from the horror around it.

Before we get to a couple of comments about the climax, let me rant about a couple of other things that I saw as problems. The whole relationship between the grand daughter and her boy friend is filled with some deep secret that never plays out. He ends up discarded as a character and Laurie's grand daughter Allison, ends up as the new scream queen without much more personal development. The plot thread from the opening with the two journalists does get played out, but in such a contrived situation as to be irritating, in spite of the well put together attack that finishes that part of the story.

Two shots in the film will immediately be recognized as reverse call backs to the original film. Allison sees a brief vision out of her classroom window, just as grandma had forty years earlier. That shot also foreshadows a moment in the climax that was the most enjoyable moment in the film. Replicating the double take that Donald Pleasence has at the end of the movie was the fan service moment that most worked for me. I did not see it coming, although I probably should have, but when it arrived, I laughed and smiled.