From Here to Eternity (1953) - Fred Zinnemann

The Japanese attack on Pearl Harbor is just around the corner -- two hours into the film, actually -- in this terrific story of Army soldiers stationed at Schofield Barracks. The main protagonist is prideful, hard-headed private Robert E. Lee Prewitt (Montgomery Clift). He's recently transferred into a new outfit, G Company, upset over being replaced as first bugler at his old regiment. A skilled boxer, Prewitt has given up the sweet science because of an unfortunate accident in the ring -- he blinded an opponent. That doesn't sit well with his new captain, Dana Holmes, desperate to win the regimental boxing title. Prewitt soon finds himself the target of the "treatment," harassment from the boxing squad, a bunch of muscular non-coms intent on changing his mind.

Montgomery Clift as Robert E. Lee Prewitt.

Holmes is a sorry officer, who relies on his efficient staff sergeant, Sergeant Warden (Burt Lancaster), to keep the company running smoothly while he focuses his efforts on securing an undeserved promotion. A classic case of the Peter Principle, Holmes has risen above his ability. We learn early that he cheats on his wife, neglecting her as he chases other women and drinks at the officers' club.

The film is based on James Jones' bestselling novel, and director Zinnemann wisely focused on three relationships in transferring the story from page to screen. The most interesting involves Warden's affair with Holmes' wife, Karen (Deborah Kerr). Warden also serves as somewhat of a mentor to Prewitt, giving the stubborn private advice and keeping him off report when he goes AWOL. A second, parallel love affair involves Prewitt and Lorene (Donna Reed), a girl-next-door type he meets at a social club. To appease censors, film-makers changed Lorene's occupation from the novel, where it's clear she's a prostitute. And Zinnemann dropped a subplot from the novel that concerned soldiers and gay locals who frequented the bars, as well as a long section that had Prewitt in the stockade. The final relationship involves Prewitt and Maggio's (Frank Sinatra) friendship. Maggio's short temper and wise-cracking gets him in trouble.

Admirers of the film praise Clift's performance, which is terrific; but for me, the best part of the film are the scenes with Lancaster and Kerr. Both  seem credible and natural, especially Kerr as the adulterous wife, vulnerable and hurt and troubled by rumor and gossip. Their first scene is innocent enough and takes place as Kerr comes to the office looking for her husband. Warden tells Karen he's out, but there's an undercurrent of sexual attraction between the two. Later, he comes to her house in a rain storm under the pretext of official business.  

Warden brings papers to Holmes' house for his signature, knowing that only his wife would be there]
Karen: Are these really important?
Sergeant Warden: Yes, but not important they get signed today. Tomorrow's okay.
[She rips them up]
Warden: I have copies at the office, so it won't be much work to fix 'em up.
Karen: That's what I like about you, Sergeant: you have confidence. It's also what I dislike about you.
Warden: It's not confidence, ma'am; it's honesty. I just hate to see a beautiful woman going all to waste.
Karen: Waste, did you say? There's a subject I might tell you something about. I know several kinds of waste, Sergeant. You're probably not even remotely aware of some of them. Would you like to hear? For instance, what about the house without a child? There's one sort for you. Then there's another... You're doing fine, Sergeant. My husband's off somewhere, and it's raining outside, and we're both drinking now. You've probably only got one thing wrong. The lady herself. The lady's not what she seems. She's a... washout, if you know what I mean... and I'm sure you know what I mean!
Warden: You going to cry?
Karen: Not if I can help it. What are you doing?
Warden: I'm leaving. Isn't that what you want?
Karen: I don't know, Sergeant. I don't know.
[He kisses her]

It's a beautifully acted scene. Kerr captures a complex mix of emotions with nervous glances and body language. This virile man excites her, but we suspect she's been burnt before by men who have used her; she's scared and unsure of herself. Most of all she is achingly lonely and unhappy in her loveless  marriage. Presumably, this encounter leads to their first tryst.

Sergeant Warden and Karen Holmes share a last meeting.

When they later meet on a park bench, she again acts awkwardly. Anxious, she's arrived early and scolds him for having made her wait, though he is on time. She's having a hard time believing this man might love her. She wonders aloud if he thinks he's made a mistake and says she'll go home. But Warden, already smitten, tells her of course he cares for her and that he risks prison dating the wife of a superior officer. Happy, they leave for the famous beach scene and one of the most iconic images in all of film.

The famous kiss.

Here, Warden acts somewhat cruelly, almost taunting her about her past, having heard salacious lies about her being with several other men. She shares her sad story, about her philandering husband, her lost child, and her inability to have another.

There's another scene later in a secluded night club, where they sit quietly together as a band plays tropical music. Karen isn't really listening, just gazing at this wonderful man who promises her a new life, one with love and caring. Zinnemann uses one of the rare closeups in the film to track to Kerr's face. Watch her eyes. She kisses his wrist and buries her face in Lancaster's neck. But the illicit romance is ill-fated, as circumstances are against them. (To emphasize the impermanence of it all, the only time Karen uses the sergeant's given name is in their last meeting.)

A six-time nominee for Best Actress, Kerr never won. Timing has a lot to do with it as each time she was up against some tough competition, but 1953 may have been her best chance. She lost to lovely Audrey Hepburn for Roman Holiday. I'd of voted for Kerr.

Interestingly, Joan Crawford was to play the role until a dispute over who would serve as cameraman got her sent packing. She and Lancaster would have smoldered. But director Zinnemann went with Kerr in an inspired bit of casting against type. Perhaps to enhance the effect, he had her gorgeous red hair dyed blond. She gives a passionate performance and looks great, even in black and white, but here's a photo of her as Karen in color:

This is Lancaster's first big role and he's perfect. One man describes Warden as the best soldier he's ever seen and in early scene Lancaster appears shirtless. Age 39 at time of filming, Lancaster was cut, with a physique any athlete would envy. He'd been acting successfully for seven years, but never had had such a meaty role. Ernest Borgnine is great as "Fatso" Judson, a dangerous sergeant who runs the stockade and dishes out punishment with his fists. He's more sadistic in the novel, but Borgnine makes the character plenty scary in the film. Maggio gets on his wrong side and suffers the consequences. Judson also carries a switch blade, which he is only too happy to unleash. The most exciting scene in the film has him threatening Maggio in an altercation in a bar. Warden breaks it up by smashing a beer bottle and jumping between the two combatants. Maggio isn't so lucky later when he finds himself in the stockade.

O.K. Fatso, if it's killin' ya want, come on.

As good as parts are, the film has problems. The story loses steam any time it returns to Prewitt and Lorene. This is likely the fault of the script and the source novel, which gives the couple a less compelling story. And the actual Japanese attack is not impressive. Viewers expecting lots of explosions and action will be disappointed. There are a few token stock footage shots of the harbor attack on the Naval ships, including the explosion on the battleship Arizona, but most involves just the strafing of Schofield Barracks and Lancaster and crew attempting a feeble return fire. 

Overall, the film received 13 Oscar nominations, and won 8, including Best Film and Best Director. Besides Kerr, Lancaster and Clift were both nominated for Best Actor. They likely cancelled each other out and the award went to William Holden for Stalag 17. Both Sinatra and Reed took home supporting statues, but neither are that impressive. Sinatra in particular did far better work elsewhere. The dramatic role by the singer likely was so unexpected that Academy voters gave him the award. Reed's best scene takes place at the end. She and Karen happen to be on the same ship, headed back to the states. (No one here gets a happy ending except Warden, a career military man who's likely content that the expectant war has finally started.)

Lorene fabricates a story about Prewitt to impress Karen, and as a way to handle her grief -- he's been shot trying to get back to his troop following the bombing. She says he was a pilot, killed while trying to take off during the attack, but Karen knows different, having heard about the private from Warden.  Karen tosses two leis into the water, saying if they float back to shore, you will return to Hawaii some day, and if out to sea, you will never be back. Lorene says she'll never come back, but we are left wondering what will become of Karen. She's opted to remain with Holmes after concluding she and Warden are too different, but it's hard to think her decision as final. After the war, who knows...?

Which way will the leis float? 

The New York Times loved the film, saying: "As a job of editing, emending, re-arranging and purifying a volume bristling with brutality and obscenities, "From Here to Eternity" stands as a shining example of truly professional moviemaking."

The Misfits (1961) - John Huston

A group of aimless people fall in together in Reno, all searching for something missing in their life, true misfits who are adrift and lonely. Gay Langland (Clark Gable) is more or less the leader, an aging cowboy struggling to remain independent and relevant. When he meets Roslyn (Marilyn Monroe) he feels a stirring he hasn't felt for a long time. So does Guido (Eli Wallach), one of Gay's friends. He works in a garage and owns a biplane, which he and Gay sometimes use to round up wild horses that they sell for dog food. Along for the ride are a busted up rodeo rider, Perce (Montgomery Clift), and Roslyn's friend and landlady, Isabelle (Thelma Ritter). 

Gay and Roslyn share a quiet moment.

There is a sadness about this film--in part because we know it as the last for two Hollywood legends, Gable and Monroe--but more for its subject matter. All the characters are lost souls who cling either to broken dreams that they know are beyond their reach, or to pasts that somehow went awry. The men drink too much and wallow a little too much in self-pity, and are burdened by bitterness. Speaking of women, Guido says, "You struggle, you build, you try, you turn yourself inside out for 'em, but it's never enough. So they put the spurs to you." Gay is estranged from his children. You sense that under his amiable surface there's a meanness.

Gable looks the part, a once strong man whose waistline is getting soft, with sun-baked face and tired eyes. He might not admit it out loud, but he knows his best days are gone. That Roslyn is attracted to him might be a stretch--she looks thirty years younger--but she is disillusioned by a failed marriage and maybe on the verge of a breakdown. Besides her obvious beauty, she still shines with a sweat innocence. Gay likely seems a safe haven, and perhaps, a father-figure. And despite his circumstances, he's able to at least appear hopeful. Trying to explain himself to Roslyn after realising a captured mustang, he says, "It's like roping a dream now. You just gotta find another way to be alive, if there is one."

The wordy script by Monroe's husband, playwright Arthur Miller, somehow works thanks to the uniformly fine acting. Gable and Monroe give the best dramatic performances of their careers. More importantly, we can relate to these characters as people. A wrong turn here, or an unlucky event there, and they could be us.

Montgomery Clift's Perce is the most poignant character; again, in part by Clift's own life's circumstance. An immensely skilled actor whose self-doubts and emotional instability always affected his roles, increasingly so after a nearly fatal 1957 car accident scarred his face, his performance as the fragile Perce hits close to home. The others first meet him on the side of the road near a phone booth, hitch-hiking to a rodeo. He's waiting for a call from his mother. When it comes they have a rushed, awkward conversation, not really connecting with one another. We only hear Perce's side of the call. There's an allusion to a hospital stay and a face injury, and Perce tells her "it's all healed up now." You later learn his mother remarried after the father's death and now is "changed." Perce, embarrassed by the call, closes the door for privacy, turning his back to the others. You understand better why he drifts from one rodeo to the next, unable to go home.

Three screen legends 

The treatment of Monroe's character in the film similarly borders reality. An emotionally fragile and tragic figure, she wanted desperately to be taken as a serious actress by Hollywood. She must have seen herself in the part of Roslyn, a beautiful, sensitive girl, whom men view merely as a sex symbol. And that's how Gay and Guido first see her. 

Gay:       What makes you so sad? You're the saddest girl I ever met.

Roslyn: You're the first man who's ever said that. I'm usually told how happy I am.
Gay:       That's because you make a man feel happy.
                       [He tries to kiss her, but she demures]

Roslyn: I don't feel that way about you, Gay.

Gay:       Don't get discouraged girl, you might.

Director Huston includes two disturbing scenes: Monroe/Roslyn is shown playing with a ball and paddle in a bar as men shoulder their way for a closer look; they holler and ogle her rump moving with the motion. In another she and Gay are on horseback. He lags behind, leering as her butt bounces in the saddle. Neither is really necessary for the story and seem almost cruelly exploitative in retrospect.  

The best scene is the roundup on the salt flats, beautifully shot but horrifying in its brutality. Russell Metty handles the cinematography (He won that year's Oscar for another film, Spartacus). Gable reportedly performed most of his own stunts, including being dragged 400 feet over the hard ground at 30 miles an hour. It's a physically and emotionally tense sequence that leaves him gasping, sitting on a running board, bent and exhausted. Roslyn's fierce reaction is a turning point in Gay's life. Gable uses his leathery face and gravely voice here to great effect. He's taking an honest look at whether his life stills holds any decency.

The exhausting work may have contributed to the actor's death, just a few weeks after film production wrapped. The horses are symbolic of the characters, misfits in their own right, threatened by hardship.   

Roslyn is appalled on learning the horses' fate.

Alex North's score contributes wonderfully well to the haunting loneliness of the film.   

What Makes The Misfits Special:

The disquieting mood of the film is perfect for the story. Seldom has a film and script mirrored the real lives of its cast so forcefully and honestly. And this is a powerful cast. Its three main stars were giants of American film in the 20th Century. People today forget how large a presence Clark Gable was, but he was called "The King." By 1960 he had long since ruled the box office. That at age 59 he would produce such a fine performance is surprising and remarkable. And though they know something more of Monroe, it is certainly more as a cultural icon than actress. Her insecurities led to a troubled life and inconsistent performance in film. As Roslyn, she came closer to realizing her potential than any other role, and gives us a glimpse of what might have been. Clift would have just one more great performance, as a physically and mentally ravished former Nazi prisoner in Judgment at Nuremberg (1961). A four-time Oscar nominee, his erratic behavior eventually got the best of him. He died just 5 years later.  It is wonderful seeing these three actors together. That the film veers toward over-sentimentality at the end can be forgiven.       

Inside Story:

The film was not well received critically upon its release. Bosley Crowther of the New York Times said of the characters: "They are amusing people to be with, for a little while, anyhow. But they are shallow and inconsequential, and that is the dang-busted trouble with this film."

Major Awards:

John Huston was nominated for Best Director by the Director's Guild of America.

Other Huston Films of Interest:

• The Maltese Falcon - 1941
• The Treasure of Sierra Madre - 1948
• Key Largo - 1948
• The Asphalt Jungle - 1950
• The African Queen - 1951
• Moby Dick - 1956
• The Night of the Iguana - 1964