MGM's bold idea to remake George Cukor's Oscar-winning upper-class romantic farce, The Philadelphia Story, into a star-studded technicolor musical with Cole Porter tunes somehow works splendidly and remains an underrated gem. Even the plot and character names--and some bits of dialogue--all remain the same as the original. Crooning Bing Crosby replaces Cary Grant as the wealthy ex-husband trying to win back his soon-to-be-remarried ex-wife, spoiled ice queen Tracy Lord (Grace Kelly, stunning and aloof in her last film role, originated in the earlier comedy by Katherine Hepburn). Unlike Grant, however, Crosby has jazz great Louis Armstrong, playing himself, in his corner for quixotic persuasion. Frank Sinatra (cocky in James Stewart's former role) and Celeste Holm add support as the nosy reporters covering, and subsequently complicating, the upcoming wedding. Sure, High Society lacks the original's witty satire, sarcasm and character complexity; but it's assuredly paced and wonderfully acted, and contains enough romantic chemistry to keep the plot engaging. And then there's the music. Unlike the grandiose production numbers of many 40s and 50s musicals, High Society's musical sequences are considerably low-key and intimate, focusing on Porter's lyrical content and the style in which it's delivered by the charismatic performers. Armstrong kicks the film off in telling style: he sings the title track, a calypso tune outlining the plot like a Greek chorus--not as an elaborately choreographed song-and-dance number, but instead stuffed claustrophobically in the back of a limousine with his jazz band. Other musical standouts include Sinatra and Crosby playfully tossing barbs during "Well, Did You Evah?"; Crosby and Armstrong teaming up for an energetic clash of styles in "Now You Has Jazz"; the two soaring, archetypal ballads by the leads--Crosby's "I Love You, Samantha" and Sinatra's superior "You're Sensational"; and, finally, the satirical Sinatra/Holm duet, "Who Wants to Be a Millionaire?", the closest High Society ever comes to social or class-commentary. --Dave McCoy, Amazon.com
A gripping true crime yarn, a juicy slice of overheated New York atmosphere and a splendid showcase for its young actors, Dog Day Afternoon is a minor classic of the 1970s. The opening montage of New York street life (set to Elton John's lazy "Amoreena") establishes the oppressive mood of a scorching afternoon in the city with such immediacy that you can almost smell the garbage baking in the sun and the water from the hydrants evaporating from the sizzling pavement. Al Pacino plays Sonny, who, along with his rather slow-witted accomplice Sal (John Cazale, familiar as Pacino's Godfather brother Fredo), holds hostages after a botched a bank robbery. Sonny finds himself transformed into a rebel celebrity when his standoff with police (including lead negotiator Charles Durning) is covered live on local television. The movie doesn't appear to be about anything in particular, but it really conveys the feel of wild and unpredictable events unfolding before your eyes, and the whole picture is so convincing and involving that you're glued to the screen. An Oscar winner for original screenplay, Dog Day Afternoon was also nominated for best picture, actor, supporting actor (Chris Sarandon, as a surprise figure from Sonny's past), editing, and director (Sidney Lumet of Serpico, Prince of the City, The Verdict and Running on Empty). --Jim Emerson
It is the 7th Century and in Mecca powerful leaders are in conflict with Mohammed who attacks the many injustices their way of life produces - slavery drunkenness and cruelty. Mohammed claims to have seen a vision of the Angel Gabriel and calls to the people of Mecca to worship one God only. After a revelation from God Mohammed agrees to take arms against Mecca and at the Wells of Bedr the inexperienced Moslem troops are victorious. However at the Battle of Uhud they are beaten. They accept a ten year truce so that they can continue to spread the word of God. Mohammed is the Prophet the Messenger of God.
Jayne Mansfield makes a departure from her usual roles to play tough girl Billy in this dark crime story. Set in London during the 1960s the film casts Mansfield as the ringleader of a band of robbers. After a failed heist her boyfriend Jim (Anthony Quayle) is captured but not before he stashes the booty in a secret hiding place. Now Billy and her crew are on a desperate hunt to find the treasure before anyone else does...
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