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From Here to Eternity

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From Here to Eternity (1953)

From Here to Eternity (1953)

There’s a reason From Here to Eternity won eight Academy Awards and was nominated for five others. The stellar cast is in large part responsible as two leading men and several supporting characters of almost leading caliber delivery hard-hitting performances.

The story follows a Hawaiian military base in the months preceding the attack on Pearl Harbor and America’s official entrance into World War II. Because the country is not at war for most of the picture, however, we get to see what life was like for the “30-year” men who enlisted with the aim of making a career out of military life. Yes, they do drills, but they also spend their evenings in town getting drunk and meeting women.

But the story is as unsavory as that. It commences with the arrival of Pvt. Robert E. Lee Pruitt (Montgomery Clift) on base, having transferred from his post as a bugler because he was passed over for the first bugle position. He was directed to his receiving base because Capt. Holmes (Philip Ober) once saw him box and aspires to have his division win the inter-regiment boxing league. Pruitt refuses to box, however, because the last time he did he blinded a man.

Pruitt’s story surrounds the intimidation and mistreatment he receives at the hands of the other boxing men in the ranks who try to pressure him to enter the ring. Pruitt makes a great pal, however, in Pvt. Maggio (Frank Sinatra) –a high-spirited soldier who introduces Pruitt to the benefits of a social club in town. It is at said club that Pruitt meets Lorene (Donna Reed), with whom he quickly falls in love. The two maintain a romance that is stifled by Lorene’s confession she does not want to marry an army man.

Maggio, meanwhile, makes a fast enemy in “Fatso”, the sergeant of the stockades (Ernest Borgnine). At a bar in town, Maggio argues with him over the sergeant’s piano playing, the musician calls Maggio a “wop” and the disagreement continues for months. When Maggio is given a last-minute assignment to cover the watch, he shirks his duty and goes on with his original plans to get drunk. His court martial lands him in the stockade where Fatso brutally beats him for weeks. Maggio escapes from the stockade and finds his way to Pruitt only to die moments later.

But those two dramatic tales are not alone in From Here to Eternity. Burt Lancaster as Sgt. Warden presents the story’s romantic plot. Warden is assistant to Cpt. Holmes and catches the eye of the philandering officer’s wife, Karen (Deborah Kerr). Although Karen has been known to get around herself, she confesses to never having known a feeling like that she experiences with Warden. By the end of the movie, the couple hopes to get married, but if Karen is to divorce Holmes, Warden will have to secure an officer’s position in order to transfer out of the regiment. The enlisted man is resistant to the idea, however, and when the war starts, everything will change.

No matter which character you become invested in, by the end of From Here to Eternity you will find yourself heartbroken. For a war movie set during (relative) peace time, the tragedies endured by the various characters are significant. Although the villains –Cpt. Homes and Fatso– get what they deserve, the sweetest character –Maggio– suffers the worst fate. Sinatra won the Best Supporting Actor award and deservedly so. He had pushed to get the role for which producers had passed over Eli Wallach because of his salary demands. Filmmakers thought Sinatra’s skinny build portrayed the helpless image the character called for, and so he got the part. Joan Crawford endeavored to take the role of Karen but also had demands that put her off for the filmmakers. The role was a different one for Kerr who typically played sophisticated roles. Although she brings an upper class air to the part, the character nevertheless has a semi-sordid past.

The direction of the film, by Fred Zinnemann is also superb with beautifully composed deep-focus shots and some of the most memorable scenes in movie history –see Lancaster and Kerr cavorting among the waves. From Here to Eternity does nothing to show the Army in a positive light, yet the Army itself approved its screening in camps. The Navy, meanwhile, banned it for its derogatory portrayal of a sister service.

Source: TCM.com

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The Misfits

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The Misfits (1961)

     I have never been sold on Marilyn Monroe as anything but a ditz with an outrageous body. In the handful of pictures I have seen, she always comes off as ignorant and naive so that I feel no option but to assume this is how she was off-screen. In her last work, however, Monroe gives us an entirely different person to consider and one that had me a bit baffled.

     The Misfits was a movie outwardly surrounded by tragedy. Not only was it Monroe’s last completed film before her mysterious death, but it also marked the last appearance of Clark Gable, who suffered a heart attack the day after shooting wrapped and died 11 days later. Ironically, he was quoted as saying on the last day on set, “Christ, I’m glad this picture’s finished. She [Monroe] damn near gave me a heart attack.” Some did blame Monroe for that heart attack because her unreliability on the set –showing up late, etc.– left the older actor in the desert heat for extended periods of time and even prompted him to do his own stunts to fight the boredom. Besides those two, the movie also co-starred Montgomery Clift, who after being somewhat disfigured in a car accident during the filming of Raintree County had become an alcoholic and would make only two more films before dying in 1966 of heart disease. A doctor was on set at all times for both Monroe and Clift.

     Directed by John Huston, The Misfits is a tale of the random adventures of five individuals thrown together somewhat by chance. Monroe’s Roslyn is in Reno to secure a divorce from a man who was emotionally absent from their relationship. She rooms with Isabelle (Thelma Ritter), a middle-aged divorcee who has made a life of standing witness at divorce trials. The film commences with mechanic Guido, expertly played by Eli Wallach, examining Roslyn’s beat up but brand new car –a divorce gift from her husband. When he spots the attractive Roslyn he offers to drive the two to the courthouse. The three later reunite in a bar where Guido is drinking with friend and cowboy Gay (Gable). The four hit it off and the men escort the women out of town to Guido’s incomplete house in the desert.

     Despite Guido’s clear romantic interest in Roslyn from the get-go, Gay is the one who manages to coax the young woman into a relationship of sorts despite their considerable age difference. The quartet later picks up bull rider Perce (Clift) to help them go “mustanging” and this man also takes a shine to Roslyn. We learn quickly that Roslyn is made hysterical by the idea of harm to defenseless creatures. She objects to Gay’s desire to shoot rabbits nibbling at their vegetable garden, is horrified that the capture of mustangs is so they may be sold to a dog-food manufacturer, and takes to tears when she sees Perce thrown from a bronco and then a bull. The movie closes on Gay and Roslyn driving away from the remote mountain scene where the gang had wrangled six horses with us uncertain whether the two will reconcile their differences and the gal will stay on in Nevada.

     The Misfits was the first instance when I witnessed Monroe in a character that was realistic to the physicality she brought to the screen. The men in this movie treat her exactly as she is: a voluptuous, young, beautiful creature distracting enough to lead to traffic accidents. In the other pictures I have seen, Monroe’s extreme body shape always seemed secondary to whatever character she took on as if she was a woman who just happened to have enormous breasts. Her emotional acting was also astonishing. Although Roslyn still has a young personality marked by naiveté, she is also deeply troubled. Much of Monroe’s acting here is conveyed only through her face. She also offers some surprising outbursts of anger at her on-screen contemporaries. The Misfits was written by Arthur Miller for Monroe, his wife at the time, which I think is why it worked out so well for her performance-wise.

     Gable, too, gives a strikingly different performance than those to which audiences were accustomed from his work at the peak of his career. He gives a particularly good show when drunk and screaming atop a car for his adult children who have fled the premises. Some contend he was mirroring the Method acting styles of his costars. The man also was surely at home in the part of a cowboy given he enjoyed farm life off-screen as well.

  • The Misfits is set for 1:30 a.m. ET Sept. 12 and 2:15 a.m. Nov. 19 on TCM.

Source: Robert Osborne, TCM.com

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