The Man Who Shot Liberty Valence (1962)

Why it's here: 
Highly recommended by a friend who brought his son and some snacks over to watch with us! We certainly can't go wrong with that.

Specs: 
2 hours; black and white

Our rating on a scale of 1 - 10: 
8.13

More about the film and our reaction to it:
The film did not disappoint. Remarkable for the onscreen pairing of James Stewart and John Wayne whose talents suit each other remarkably well, this film is yet another of John Ford's successful Westerns and probably one of the best Westerns we've seen. It kept reminding me of the other wonderfully different Westerns in our festival: Stagecoach and High Noon. All three share a similar calm, intellectual story - rather than a high energy "shoot em up" approach.

The film may be best suited for tweens and up -- not because it is gory or violent -- but because it might seem dull or slow for those who don't get in to the underlying personal and political tensions. There are a few graphic and unsettling moments including, I guess I don't give anything away here that the title hasn't already suggested -- a man shot in a gun battle. The interesting piece is not so much that this man was shot but by whom and why and we don't really learn that until we put it all together at the end.

We would recommend the film highly.


Iconic Image:

Broken Arrow (1950)

Why it's here:
For the simple reason that it was filmed at Old Tucson.

Specs:
1 and 1/2 hours. Color! We watched on a dvd from our local library
Set in the 1870s

Our family's average rating:
7.67

More about the film and our reaction to it:
I didn't know much about the film when I chose it for the festival, but when I picked up the dvd from the library and read the back, I was amazed to see that the story sounded just like Dances with Wolves -- Later, when I read the back of the case to my kids, my older son said: "that sounds just like Avatar." It turns out that we were both somewhat correct, and it certainly could have been an inspiration for both movies.

Jimmy Stewart, as always, gives a great performance -- this time as a disenfranchised Union soldier, Tom Jeffords, who stumbles upon a tribe of Apache Indians, is tasked by his government with convincing them to allow the U.S. mail to go through their territory unmolested, and who ultimately finds beauty in their lifestyle, makes enduring trust-based friendships, falls in love with and marries a native woman, and endures tragedy due to the clash of cultures and advancing white men.  Sound like DWW? Yes. But, unlike the latter, Stewart's character stays connected to the white people in Tucson throughout the film and does not completely leave "his kind." According to my sons this is also pretty much the same story you find in Avatar with a few key plot differences, such as the two cultures aren't already at war when our hero joins them and their is no element of attempted peace treaty. The themes are good ones, so no wonder the movie gets made over and again.

To watch a film like this is a bit of a test for a modern viewer. I found it troublesome and distracting that the lead Apache characters were played by actors who were clearly not natives. In the case of the character Cochise, Jeff Chandler was at least very capable and quite convincing as an Apache chief. However, the leading "lady" (and I have to put that in quotes because Debra Paget was a girl - just 16 when the film was made) was woefully inadequate in acting skill and in "look" to manage the task of compelling love interest/Indian maiden. I don't know if orange spray tan had been invented in 1950, but that seemed to be the approach to make this clearly Anglo girl an "Indian." How sad that this ever seemed acceptable. Some of the Apaches in the background scenes did appear to be Native actors, and the character Geronimo, though a very small part, was played by Jay Silverheels. The lack of Native actors in key parts is troublesome, but not as much as the attempt at the optimistic tone the film seems bent on sharing. It is hard to see this film strive for a positive if not happy ending, when we know that there is no Chiricahua Apache land preserve anywhere near us in southern Arizona and no chance that the Americans kept their word to keep the peace and stay out of Apache lands.


Still, one has to appreciate that this film boldly portrayed the Apaches as sympathetic and honorable people. An unusual touch for 1950.

Probably the film's biggest failure was with it's strained love story. Debra Paget is an unbearably and inappropriately young love interest for Jimmy Stewart. We've seen plenty of May-December romances in Hollywood films of this era, think Judy Garland/Fred Astair. But in Easter Parade, Garland was at least a fully grown woman of 26 choosing a much older man after a long build up that made it clear why she liked him. Paget's character here is given no such build-up, no motivations, and no reason why she would fall for Stewart's.  Paget is a teenager. She seemed hardly able to manage to kiss him, and even Stewart seemed only slightly less troubled by the match-up. They were horribly unsuited. I wished heartily that the film makers had not tried to make this a love story!

Interestingly enough, in researching the movie, we learned that much of the story is true. Tom Jeffords was a real person who did become close friends with Cochise and much of the plot based on that friendship seems accurate or at least based on real events. (However, not surprisingly, the romance was entirely made up. Jeffords never married an Indian woman.)

One final note: It was wonderful but strange to see a Technicolor Western, especially one filmed around Tucson. However, it almost seemed wrong to see this story in color, as Westerns just seem like they should be black and white.

Iconic shot:

The Philadelphia Story (1940)

Why it's included:
Directed by George Cukor and starring not just Katherine Hepburn and Cary Grant, but Jimmy Stewart as well. What's not to love.

Specs:
About 2 hours, black and white. Available on dvd. Our library had a copy

Our family's average rating on a scale of 1-10:
8.33

More about the film and our reaction to it:
I do get star-struck, I can't lie. Halfway through the movie I was sitting there watching Katherine Hepburn, Cary Grant and Jimmy Stewart sharing the screen and felt giddy and goose pimply. Here were three enormous talents with enough star power to light up the sky for a week, together in a smart, sophisticated, beautifully filmed production. It is really almost more than words can get around.

This is a brilliant picture -- in the bright sparkly wonderful sense of the word. I've seen it several times and wanted to share it with my kids, but after having done so, I do have to say that on the whole this might not have been the best movie choice for families.  The film really is over the head of most kids with its adult themes (divorce, philandering husbands, heavy social drinking and its after-effects, the intrusiveness of the press, blackmail, etc. etc.) not to mention its witty, ironic tone. But the performances are wonderful throughout and one of our favorites was the 13 year old actress, Virginia Weidler, who played Hepburn's little sister in a charming and very funny way. The humor in the film is more grown up and glittering, than some of the screwball comedies we've been watching of the era, so we appreciated a slightly different style of movie.

While both of my kids liked the movie, their 11 year old friend who was over only gave it a "3"! My kids are a bit more used to classics and already knew the three leads from other film appearances, which always adds to the experience, but overall, it is probably less accessible for family viewing than some others we've watched.

That said, it is cool that shortly after watching this, we caught a reference to the film in an episode of the TV show Phineas and Ferb! "My she was yar!" is a line exchanged a couple of times as the characters reminisce over their happier days on a yacht designed by Grant's character CK Dexter Haven. ("Yar" meaning particularly well-built, seaworthy and fine.) We spent a fair amount of time discussing the idea of "yar". So we nearly swallowed our gum when Phineas said the same about about an ocean liner he'd just built for his friend: "My she's yar!" An homage to The Philadelphia Story for sure. One of the neatest things about watching classics has been noticing that references to classic film is all around us in pop culture.  We are pretty sure that most other viewers of Phineas and Ferb did not pick up on this one.

Iconic shot:

Mr Smith Goes to Washington (1939)

Why it's here:
An American government lesson wrapped inside a wonderful film.

Specs:
Just over two hours, black and white. Available on dvd.

Our family's average rating (on a scale of 1-10):
7.5

More about the film and our reaction to it:
The movie starts out funny, then graduates, slowly, to a story that is tense, a bit unsettling and very powerful. We liked all the phases of the film, especially the fantastic and earnest performance of Jimmy Stewart.

Stewart plays Smith, an innocent and idealistic youth-leader with a strong local following who, for odd reasons, ends up being called up by the governor of his state to replace the state senator who has died unexpectedly -- at a very sensitive time. A pork barrel measure regarding a dam, is about to go to ballot and the powers that be needed the deceased senator to get the measure through. Now, they are simply hoping that Smith will act as a puppet and not cause trouble.

But they weren't banking on Smith's deep commitment to the honor of the role and the integrity of the political process. Smith wants to do something important. Unfortunately, what he wants to do conflicts directly with what the powerful forces in his state expected of him. Luckily, Smith has the help of Saunders (played by Jean Arthur) a woman who despite living in a man's world, is a real politico who knows how to work the system.

The kids were fascinated with the political theater -- and the movie, knowing that it is providing a special glimpse into our government, plays that up to the hilt. We had a lot of great conversations about power and politics and techniques like filibusters. The film is beautifully filmed with a sense of love and respect for our Capital, even though the story is rooted in the harsh realities of politics.

Iconic shot: