Somebody Up There Likes Me

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The boxing film genre is, by its very nature, always viewed through a prism of cliches. From the very first fight films of the thirties, usually with Cagney as the fighter and Bogie as the crooked fixer, Hollywood has delivered a nonstop series of boxers on film who, for the most part, have resonated with the viewing public.

The better ones linger in the memory, and with SOMEBODY UP THERE LIKES ME, director Robert Wise presents the true to life story of middleweight champion Rocky Graziano, played in the performance of a lifetime by Paul Newman. Newman has been so good so often in future films using his face and voice, that it is refreshing to remember that as Rocky Graziano, he could combine that busted face and Brooklyn accent with a physical ferocity in the ring that compares favorably with the best of Stallone's Rocky.

Newman plays Graziano as the thug that he surely was. First as a street hood, then later as an army malcontent, Graziano seems on the fast track to prison and an early death. Paradoxically, it is the very bitterness of his soul that convinces his manager Everett Sloane to take a chance on this tough kid as a professional fighter. Along the way, the cliches start to pile up: Sloane's 'Meshuganah' Yiddish accent; the complaints of his future wife (Pier Angeli) that she can't stand the fight business; and the many altercations that Graziano has with the rule-bound boxing commission, which is determined to make Rocky adhere to a set of rules that from the first reel, he would fight with the same ferocity that he would later show in the ring. But by the time these cliches add, the audience no longer cares that they are cliches. Now they care very much about the motivation within Rocky's soul.

When Rocky forgets to attend a scheduled fight only because of the trauma of a breakup with Pier Angeli, the audience can feel the pain of his broken heart which does not leave room for such petty details as punching some opponent's lights out. And there are the fight scenes. The climactic battle with champion Tony Zale, the 'Iron Man,' is one of the best choreographed fights ever filmed. Court Shepard, who plays Zale, is an intimidating presence, who says not a word during this long bout, yet his etched in concrete face tells Rocky all he needs to know that Zale is no joke. The blow by blow narration done over the radio by real life announcer Henry Wismer adds a grueling note of authenticity to a fight that leaves the audience gasping at the pounding Graziano and Zale give each other. Throughout the film, Newman gives just the right note of a street born Brooklyn tough guy who slowly comes to realize that the toughest bout of his life need not take place in the ring itself. Connecting to his wife and father gave Rocky more internal bruises than the Iron Man ever could. -- Martin Asiner , Jersey City, NJ, United States

Release Date: 09/01/1998

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Cat on a Hot Tin Roof (1958)

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This adaptation of a Tennessee Williams play was nominated for six academy awards in 1959. It stars Elizabeth Taylor as Maggie, rejected over and over by her alcoholic husband, Brick, played by Paul Newman. His father, Big Daddy, played by Burl Ives, has just returned to his Mississippi mansion after exploratory surgery. There's bitter rivalry in the family as they speculate about his death. Jack Carson plays the older son, who, with his pregnant wife, played by Madeline Sherwood and their five obnoxious children are determined to inherit Big Daddy's fortune. But Big Daddy despises him, as he does his own wife of 40 years, Big Mama, played by Judith Anderson.

As this film was originally a play, most of it is sharp and cutting dialogue, every line filled with tension and double meanings. Close-ups reveal the artistry of the actors, all of whom are excellent. I especially liked Burl Ives, whose performance called for a wide range of emotions, showing his vulnerability as well as his strength. And as the characters battled with each other, the story, which I understand was rewritten to fall within the guidelines of 1950s censors, slowly revealed itself. Some critics say this ruined this movie adaptation. I can't comment on that because I though the story was great. Most of the film takes place inside a house and there's almost no physical action. Not necessary. The dialog does it all. And it does it well. Recommended. -- Linda Linguvic, New York City, NY, USA.

Release Date: 09/19/2000

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The Hustler

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The Hustler is a film that stays with you long after you've seen it. It is actually two stories in one. The main focus is of course a character study of a pool hustler, and life in the pool halls, the other is a love story.
Paul Newman plays the title character, he is Fast Eddie Felson, a young pool shark who feels he has something to prove to the world.. He seeks out "Minnesota Fats",(Jackie Gleason), supposedley the best in the world, and takes him on in an all night challenge. Eddie is good, Real good, but his cockiness gets in the way, and he fails to prove his status.
He falls into a pit of self-pity, to be brought back around by a girl her meets, Sarah,(Piper Laurie), who is not totaly without her own problems, but they both give each other what they need,fall in love, and seem to gain a renewed zest for life.
Pool and hustling is what's still important to Eddie though, as he hooks up with a sinister "manager",Bert(George C. Scott)who will get him to "where the action is." Eddie wants to win and win big, no matter what it may cost him in the end. And in the end he is a sadder but wiser player.
The cast is magnificent. Paul Newman with the off set coaching of the great Willie Marsconi, looks like he was born in a pool hall. Jackie Gleason is exquiste is his portrayal of Minnesota fats, he adds little nuances, that are make him look like the consumate expert, Piper Laurie gives a stellar performance as an alcoholic in need of some love, and last but no way least the great George C. Scott is outstading as the uncaring and sinister Bert.Also look for a cameo of Mr. Marsconi!
The film won Best Cinematography(B&W) in 1961, and when you view this DVD you will see why. The DVD is a terrific transfer. Most of the scenes naturally take place in the dark arenas of the pool halls, and the lighting is excellent and picture is crisp and clear.The scenes outdoors are bright. The widescreen is very good, and the sound is so good you will think the pool table is right in your living room . This is a classic Newman film and I'm thrilled with the treatment it has recieved, you will be too!For all you "Extra Lovers" out there you will be in heavan with this one. There are lots,including some "trick shot" instuction from a pro.
A couple more notes of interest, The movie was nominated for best picture along with. Best Actor, 2 Suporting Actors(both Gleason and Scott), and a Best Actress nomination for Piper Laurie as well. The movie was beat out by that pesky little West Side Story(loved that one too)that year, and Newman FINALLY got his long deserved Oscar for reprising Fast Eddie in the sequel to this movie made in 1986, "The Color of Money." -- L. Shirley , Fountain Valley, CA, United States

Release Date: 06/04/2002

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Cool Hand Luke

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Paul Newman portrays Lucas Jackson, an iconic film anti-hero, in this classic film.

Luke seems to have wandered aimlessly after winning several medals in WWII, and in the beginning of the film he's arrested for "maliciously destroying municipal property" - using a pipe cutter to cut the heads off of parking meters.

The film has little exposition and in the next scene plunges our anti-hero in the middle of Division of Corrections, Road Prison 36, in the south. Strother Martin plays the "Cap'n", the warden of this group, and Luke is instructed that all the other guards are to be called "Boss". The bosses are frighteningly sadistic. Morgan Woodward is terrifying as "the man with no eyes". He speaks no words from behind his mirror sunglasses, but has a rifle brought to him every so often so that he can demonstrate his sharp-shooter accuracy.

George Kennedy won Best-Supporting Actor Oscar as "Dragline", bull of the herd of prisoners. Dragline leads the group, running gambling and the small barracks "bank", and all the other prisoners follow his example and look to him as the source of what little self-respect they have.

Luke and Dragline knock heads, figuratively and later on, literally, when Dragline beats Luke nearly unconscious in a brawling boxing match. Dragline and the other prisoners live a pretty vivid fantasy life. They blow-up the smallest slivver of hope into a bright shining ray of hope. In a famous scene the prisoners are working just down the road from a beautiful blonde who stretches and teases and caresses the car she is washing with a soaped up sponge (this scene has been copied many times since in more juvenile films). The other prisoners immediately attach themselves to the fantasy image of "Lucille". She is just some innocent, beautiful girl who "didn't know what she was doin'" while she postured her curvy side for the men. "Oh, she knew what she was doing, and she loved every minute of it", Luke states plainly, bursting the fantasy balloon of the other prisoners. This leads to the famous boxing match with Dragline.

Luke is insolent and rebellious and talks back to the Bosses in a way the other prisoners wouldn't dare. He gradually earns the respect of the other prisoners, and one of the best scenes of the film occurs at a poker game where Dragline finally comes to respect Luke and gives him his nickname.

Luke doesn't want responsibility, even the responsibility of the admiration of the prisoners. The film charms it's way under your skin, though, and it's very easy to lose the perspective that by the end you've spent the entire movie rooting for a man who by almost any other definition would be a loser.

Paul Newman has seldom been better. -- Mark J. Fowler, Orange Park, Florida, USA

Release Date: 02/03/1998

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Butch Cassidy & Sundance Kid

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I know, I know. . .many can take issue with the title above. Consider Sergio Leone's "spaghetti" Westerns, or Sam Peckinpah's brutal "The Wild Bunch." Both directors broke ground, but in my very humble opinion neither had the same impact on the genre that director George Roy Hill commanded when BUTCH CASSIDY AND THE SUNDANCE KID hit the big screen in 1969.

This film took a Western and injected it with a healthy dose of pop culture. The soundtrack bears this out--even to the point of treating us with the pre-MTV music video, "Raindrops Keep Falling On My Head." Ever see a John Wayne movie of the Sixties that had jazz singers humming the soundtrack? Didn't think so.

Even more compelling is the story, a story about two bank robbers trying to hang onto the Old West in a rapidly changing world. They're outlaws, but they're the "good guys," totally likeable and captivating. The viewer is pulling for them to escape the law, plan their next move, rob another day. The ending is inevitable, yet tastefully and poignantly done.

Much has been made about the chemistry between Paul Newman (Butch Cassidy) and Robert Redford (Sundance)--and rightfully so. The dialogue, banter, timing between these two wonderful actors is flawless, brilliant, overwhelming. There are classic lines ("Who are those guys?") and scenes (Butch's "rules" for a knife fight) that will live in cinematic lore forever. Katharine Ross as Etta Place ("I'm 25, single, a schoolteacher, and that's the pits.") is a wonderful addition to the cast as Sundance's girlfriend and soulmate to both outlaws.

Equally innovative was the film's cinematography--starting in grainy black and white and changing to vivid color as Butch and Sundance ride over breathtaking scenery. BUTCH CASSIDY AND THE SUNDANCE KID ushered in the contemporary Western, and I'm darned glad it did.
--D. Mikels, Woodward, OK , USA

Release Date: 03/22/1995

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The Sting

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Films just do not get much better than, "The Sting", great story, a number of legendary actors, beautiful cinematography, and a sound track that resurrected an entire genre of music. There have been several pairings of actors and actresses that have produced films that will always remain favorites, Paul Newman and Robert Redford is certainly one of the best. This movie has both actors in top form when time had yet to make a mark on either actor. Paul Newman shares the screen with Tom Hanks in a new film, and while Hanks has already made his mark at the age of 46, Newman who now is closing in on 78 is still remarkable, but not as he was in this film nearly 30 years ago when still in his 40's. Robert Redford is all of 35 in this film, and the similarities to Brad Pitt are eerily familiar at times, just as in, "A River Runs Through It", that Redford directed and Pitt starred in.

This is a film about Irish grifters, and the Irish mob, yet it carries a PG rating that would probably be lowered to a G but for one scene of dancers wearing pasties larger than most swimsuits today. And that is one of the great beauties of this film. "The Sting", is as entertaining, of higher quality, and offers more talent that the majority of films today, and does so without the need for all the crutches that current weak films require. Gratuitous sex/nudity, drug use, profanity so constant it becomes meaningless, and scenes that use shock where talent is no where to be found. There are great films made today, but few that rely on the talent of the actors, quality direction and great film scores.

The fact has been, and remains that G, PG, and PG-13 films make more money than R, and NC-17 films. The top 100 box office films have only 19 R rated films, the highest ranked is number 27 from 1984. A more accurate list is the one that allows for the inflation of ticket prices. On this list R rated films number only 5. This explains the need to add PG-13 several years ago, and what some call, "ratings creep", films that manage a more gentle rating than they should. Some films cannot tell their story without an R rating, and there is nothing wrong with that. What is harder to understand is why studios continue to churn out so many R rated films that are garbage when they make less money than their counterparts.

"The Sting" easily makes the top 10 list of my favorite films. -- Francis J. Mcinerney, Commonwealth

Release Date: 03/01/1992

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The Color of Money

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This movie appears to be about pool on the surface. But it's less about pool than it is about what motivates us as people.

Fast Eddie Felson of the classic, "The Hustler," returns to reverse roles in this 80s classic. Instead of being the young champ, he wants to train the young champ in Tom Cruise. But eventually, he realizes the hard way he doesn't have the stomach to play stake horse and in his heart he really wants the thrill of competition.

A lot of people will compare this movie to "The Hustler," since it is the sequel. There is no comparison. This movie really can't even be compared in pool terms. The pool shots that they hit in this movie are, for the most part, average to above-average. This is not the mind blowing pool play from "The Hustler" to be sure.

But this movie does have plenty going for it. For non-pool players, this movie has more character development. This movie also features some of the greatest cinematography of any film. And Newman, Cruise, and the supporting cast all put in stellar performances.

In short, this is a great movie that's worth watching just for enjoyment or on a deeper level for those who appreciate fine cinema. It's not half the movie that "The Hustler" is, but it has enough merits to stand on its own. -- Mark , East Coast, U.S.A.

Release Date: 06/04/2002

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Road to Perdition (Widescreen Edition)

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This suspense-filled story of hitman Michael Sullivan, directed by Sam Mendes, has as much style and cinematic brilliance as his American Beauty, though it is much darker. Sullivan (Tom Hanks), the adoptive son of John Rooney (Paul Newman), is a cold-blooded killer working for his crime boss "father" in the winter of 1931, when his own twelve-year-old son, Mike Jr., inadvertently witnesses a "hit" in which his father participates.

Subsequently, the Sullivans, father and son, take off for Chicago to meet with Frank Nitti (Stanley Tucci), underworld lieutenant to Al Capone. Mike Sullivan, Sr. is also hoping to get to Perdition, an appropriately named Midwestern town, so he can leave is son with his sister-in-law. Sadistic hitman Harlan Maguire (Jude Law), who enjoys photographing the death throes of his victims, is soon on the Sullivans' trail to through the midwest.

Conrad L. Hall, to whom the film is dedicated, uses photography to its fullest advantage winning a posthumous Academy Award for his cinematography. Shot in winter, the film preserves the flavor of early black and white films, with sharp contrasts, and the use of dark, somber colors, when colors are used at all. Snow, ice, rain, and fog perpetuate the cold darkness of the scenes, and Hall's use of architectural framing is stunning, particularly his repeated use of windows. He keeps the scenes simple, often focusing on individual characters in contexts which reveal their emotional states. In one memorable scene, for example, light from a streetlight outside a window casts the shadow of rain on an interior wall, suggesting both tears and cleansing.

Newman is terrific as an aging mob boss, playing his part with just the right mix of frailty and cruelty (for which he was nominated for an Academy Award). Tyler Hoechlin, as 12-year-old Mike, Jr., reveals his fears and vulnerabilities at the same time that he shows his satisfaction as the center of his father's attention (winning Best Young Actor from the Broadcast Film Critics Association). Jude Law, made up to look like a true, wild-eyed psychopath, is terrifying. Hanks looks menacing and acts viciously until his concern for his son overtakes all other emotions in a moving, climactic scene, though it is difficult to accept him in the role of a hitman.

Period music adds style to the film, and original music by Thomas Newman (and the title song by John Williams), mostly piano and strings, preserves the period tone. Filled with the horror of violence and considerable suspense, this noir film gives a human face to mob violence in the thirties. Mary Whipple - New England, U.S.A.

Release Date: 02/25/2003

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