“A NIGHT TO REMEMBER” (1958) Review

6a00e5500c8a2a883301901cb343c3970b

“A NIGHT TO REMEMBER” (1958) Review

There have been many versions about the April 1912 sinking of the R.M.S. Titanic. Many versions. And I have personally seen at least five of them. One of them happened to be the 1958 movie, “A NIGHT TO REMEMBER”

Directed by Roy Ward Baker, “A NIGHT TO REMEMBER” is based upon historian Walter Lord’s 1955 book about the historical sinking. Since the 1958 movie was based upon a historical book instead of a novel, Baker, producer William MacQuitty and screenwriter Eric Ambler approached the film’s plot in a semi-documentary style. Even the movie’s leading character turned out to be the Titanic’s Second Officer, Charles Lightoller, who was portrayed by actor Kenneth More. The movie also featured other historical figures such as J. Bruce Ismay, Thomas Andrews, Captain Edward J. Smith and Margaret “Molly” Brown. Due to this semi-documentary approach, “A NIGHT TO REMEMBER” is regarded as the best movie about the Titanic.

I cannot deny that there is a great deal to admire about “A NIGHT TO REMEMBER”. Not only do I feel it is an excellent movie, I could see that Roy Ward Baker did his best to re-create that last night aboard the Titanic. He and Ambler gave the audience glimpses into the lives of the ship’s crew and passengers. The movie also went into great detail of their efforts to remain alive following the ship’s brief collision with an iceberg. Some of my favorite scenes include the Irish steerage passengers’ efforts to reach the life boats on the upper decks, the wireless operators’ (David McCullum and Kenneth Griffin) efforts to summon other ships to rescue the passengers and crew, and passenger Molly Brown (Tucker McGuire)’s conflict with the sole crewman in her lifeboat. But my favorite scene has to be that moment when the Titanic’s stern rose high before the ship sank into the Atlantic Ocean.

For a film shot in black and white during the late 1950s, I must admit that “A NIGHT TO REMEMBER” looked very handsome. Legendary cinematographer Geoffrey Unsworth’s phtography struck me as sharp and very elegant. I do not know if Yvonne Caffin’s costume designs for the movie’s 1912 setting was completely accurate, but they certainly did add to the movie’s late Edwardian atmosphere. Especially those costumes for the first-class passengers. I do have to give kudos to the special effects team led by Bill Warrington. He and his team did a superb job in re-creating the ocean liner’s historic sinking. I am even more impressed that their work still manages to hold up after fifty-four years.

The cast of “A NIGHT TO REMEMBER” was led by Kenneth More, who portrayed Second Officer Lightoller with his usual energetic charm. More was ably supported by the likes of Laurence Naismith as Captain Smith, Michael Goodliffe’s poignant portrayal of ship designer Thomas Andrews, Frank Lawton as J. Bruce Ismay, George Rose as the inebriated survivor Charles Joughin and Tucker McGuire’s colorful portrayal of American socialite Molly Brown. The movie also featured future “AVENGERS” and Bond veteran Honor Blackman; David McCullum of “THE MAN FROM U.N.C.L.E.” and “N.C.I.S.” fame; and Bernard Fox, who will also appear in James Cameron’s 1997 movie about the Titanic sinking. But despite the numerous good performances, I honestly have to say that I found nothing exceptional about any of them.

Like many others, I used to believe that “A NIGHT TO REMEMBER” was the best movie about the Titanic. After this latest viewing, I do not believe I can maintain that opinion any longer. In fact, I am beginning to suspect there may not be any “ultimate” Titanic film. And “A NIGHT TO REMEMBER” is not perfect, as far as I am concerned. Many have applauded the filmmakers for eschewing any fictional melodrama or using the sinking as a backdrop for a fictional story. Personally, I could not care less if a Titanic movie is simply a fictional melodrama or a semi-documentary film. All I require is a first-rate movie that will maintain my interest.

“A NIGHT TO REMEMBER” began with a montage of newsreel clips featuring the Titanic’s christening in Belfast. One, the ship was never christened. And two, I could see that the newsreel footage used in the movie dated from the 1930s. The movie tried its best to allow the audience to identify with some of its characters. But due to “A NIGHT TO REMEMBER”being a docudrama, I feel that it failed to give an in-depth study of its more prominent characters . . . making it difficult for me to identify with any of them.

I realize that “A NIGHT TO REMEMBER” was a British production, but I was amazed at the low number of American passengers featured in the cast. The 1953 film, “TITANIC” suffered from a similar malady – the only British characters I could recall were members of the crew. I do remember at least three Americans in the 1958 movie – Molly Brown; Benjamin Guggenheim, portrayed by Harold Goldblatt and a third passenger, whose name escapes me. I was satisfied with McGuire’s performance as Molly Brown and the nameless actor who portrayed the third American passenger. But Goldblatt portrayed Guggenheim as a member of the British upper class in both attitude and accent. It almost seemed as if the filmmakers wanted Guggenheim to be viewed as a British gentleman, instead of an American one.

Walter Lord’s book made it clear that one of the last songs performed by Titanic’s band was NOT “Nearer My God to Thee”. Yet, the filmmakers chose to perpetrate this myth in the movie by having the remaining passengers and crew sing the song en masse before the ship began to sink in earnest. This pious attitude continued in a scene aboard the R.M.S. Carpathia, in which the survivors listened to a religious sermon. Instead of projecting an air of melancholy or despair, the survivors, thanks to Ward Baker, seemed to project an air of the British stiff upper lip cliche. I feel that a melancholic air among the survivors would have made the scene seem more human.

I cannot deny that “A NIGHT TO REMEMBER” is a first-rate look at the sinking of the R.M.S. Titanic. More importantly, the movie and especially the visual effects still hold up very well after half-a-century. But the movie possesses flaws that make it difficult for me to regard it as the best Titanic movie ever made. Perhaps . . . there is no best Titanic movie. Just bad or well made ones.

 

Advertisements

Top Ten Favorite HISTORY DOCUMENTARIES

thecivilwar_fullsize_story1

Below is a list of my favorite history documentaries:

 

TOP TEN FAVORITE HISTORY DOCUMENTARIES

1 - Ken Burns The Civil War

1. “The Civil War” (1990) – Ken Burns produced this award-winning documentary about the U.S. Civil War. Narrated by David McCullough, the documentary was shown in eleven episodes.

2 - Supersizers Go-Eat

2. “The Supersizers Go/Eat” (2008-2009) – Food critic Giles Coren and comedian-broadcaster Sue Perkins co-hosted two entertaining series about the culinary history of Britain (with side trips to late 18th century France and Imperial Rome).

3 - MGM - When the Lion Roared

3. “MGM: When the Lion Roared” (1992) – Patrick Stewart narrated and hosted this three-part look into the history of one of the most famous Hollywood studios – Metro-Goldwyn-Mayer (MGM).

4 - Africans in America

4. “Africans in America: America’s Journey Through Slavery” (1998) – Angela Bassett narrated this four-part documentary on the history of slavery in the United States, from the Colonial era to Reconstruction.

5 - Queen Victoria Empire

5. “Queen Victoria’s Empire” (2001) – This PBS documentary is a two-part look at the British Empire during the reign of Queen Victoria. Donald Sutherland narrated.

6 - Motown 40 - The Music Is Forever

6. “Motown 40: The Music Is Forever” (1998) – Diana Ross hosted and narrated this look into the history of Motown, from its inception in 1958 to the 1990s.

7 - Ken Burns The War

7. “The War” (2007) – Ken Burns created another critically acclaimed documentary for PBS. Narrated by Keith David, this seven-part documentary focused upon the United States’ participation in World War II.

8 - Manor House

8. “The Edwardian Manor House” (2002) – This five-episode documentary is also a reality television series in which a British family assume the identity of Edwardian aristocrats and live in an opulent Scottish manor with fifteen (15) people from all walks of life participating as their servants.

9 - Elegance and Decadence - The Age of Regency

9. “Elegance and Decadence: The Age of Regency” (2011) – Historian Dr. Lucy Worsley presented and hosted this three-part documentary about Britain’s Regency era between 1810 and 1820.

10 - Ken Burns The West

10. “The West” (1996) – Directed by Steven Ives and produced by Ken Burns, this eight-part documentary chronicled the history of the trans-Appalachian West in the United States. Peter Coyote narrated.

HM - Fahrenheit 9-11

Honorable Mention: “Fahrenheit 9/11” (2004) – Michael Moore co-produced and directed this Oscar winning documentary that took a critical look at the presidency of George W. Bush, the War on Terror, and its coverage in the news media.

The Charlotte

Here is some information and an old recipe for a dessert dish known as the Charlotte:

THE CHARLOTTE

I first heard about the Charlotte or one of its variations in the 1992 movie, “HOWARD’S END”. One of the supporting characters seemed to have a real enthusiasm for the dessert being served to him by his family’s maid. I have never forgotten that particular scene. And when I came across some information on the Charlotte, I found myself inspired to post an article about it.

The Charlotee is a type of dessert that can be served hot or cold and was believed to be created in the late 18th century. It can also be known as an ‘ice-box cake’. Bread, sponge cake or biscuits/cookies are used to line a mould, which is then filled with a fruit puree or custard. It can also be made using layers of breadcrumbs. Classically, stale bread dipped in butter was used as the lining, but sponge cake or sponge fingers may be used today. The filling may be covered with a thin layer of similarly flavoured gelatin.

Many different varieties have developed. Most Charlottes are served cool, so they are more common in warmer seasons. Fruit Charlottes usually combine a fruit puree or preserve with a custard filling or whipped cream. Some flavors include strawberry, raspberry, apple, pear, and banana. Other types do not include fruit but use a custard or bavarian cream. A citrus curd is a more contemporary choice.

There is a lot of doubt surrounding the origins of the name charlotte. Despite the fact that Charlottes are served across Europe, one etymology suggests it is a corruption of the Old English word charlyt meaning “a dish of custard.” Meat dishes that were known as charlets were popular in the 15th century. Some claim that the charlotte had its origin in the dessert, Charlotte Russe, which was invented by the French chef Marie Antoine Carême (1784-1833). Apparently, he named it in honor of Charlotte of Prussia, the sister of his Russian employer Czar Alexander I (russe being the French word for “Russian”). Other historians say that this sweet dish originated with the Apple Charlotte, which took its name from Queen Charlotte (1744-1818), wife of George III – patron of apple growers in Britain.

The various types of Charlotee desserts include:

*Charlotte Russe – a cake is which the mold is lined with sponge fingers (Ladyfingers) and filled with a custard. It is served cold with whipped cream.

*Apple Charlotte – a golden-crusted dessert made by baking a thick apple compote in a mold lined with buttered bread. This dessert was originally created as a way to use leftover or stale bread.

*Chocolate Charlotte – a cake that uses chocolate mousse within its layers

*Charlotte Malakoff – a cake with a lining of ladyfingers and a center filling of a soufflé mixture of cream, butter, sugar, a liqueur, chopped almonds, and whipped cream. It is decorated with strawberries.

*Cold charlottes – made in a ladyfinger-lined mold and filled with a Bavarian cream. For frozen charlottes, a frozen soufflé or mousse replaces the Bavarian cream.

Here is an old American recipe for Apple Charlotte:

“Cut as many very thin slices of white bread as will cover the bottom and line the sides of a baking dish, but first rub it thick with butter. Put apples, in thin slices, into the dish, in layers, till full, stewing sugar between and bits of butter. In the mean time, soak as many thin slices of bread as will cover the whole, in warm milk, over which lay a plate, and a weight to keep the bread close on the apples. Bake slowly three hours. To a middling-sized dish use a half pound of butter in the whole.” – “A New System of Domestic Cookery, Formed Upon Principles of Economy, and Adapted to the Use of Private Families” by Maria Rundell, 1807

Here is a more modern recipe for the same dish:

Ingredients

1 tablespoon butter 1 (1 pound) loaf white bread, crusts trimmed 8 apples – peeled, cored and chopped 1/3 cup white sugar 1/2 tablespoon ground cinnamon 1 tablespoon lemon juice 2 tablespoons butter, cubed nonstick cooking spray.

Directions

Preheat oven to 400 degrees F (200 degrees C). Grease a 9×5 inch bread pan with 1 tablespoon butter. Press bread slices onto the bottom and sides of pan, making sure there are no gaps.

In a large bowl, combine apples, sugar, cinnamon, lemon juice and 2 tablespoons cubed butter. Place apple mixture in bread lined pan. Cover top with bread slices, and coat with nonstick cooking spray. Cover with aluminum foil.
Bake in preheated oven for 35 to 40 minutes. Allow to cool for 15 minutes in pan, then invert onto serving dish. – allrecipes.com

“THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES” (1965) Review

thosemagnificentmen4

 

“THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES” (1965) Review

Many comedies featuring a long running time and a cast of celebrities were very prevalent in Hollywood and Europe during the 1960s. One of the more famous of these films happened to be the epic 1965 comedy titled “THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES, Or How I Flew from London to Paris in 25 Hours 11 Minutes. Directed and co-written by Ken Annakin, this two hour and eighteen minutes film depicted an comedic air race between London and Paris in 1910.

Director Annakin first came up with the idea of a pre-World War I air race while co-directing Darryl Zanuck’s World War II epic, “THE LONGEST DAY” (1962). He pitched the idea to the producer and the latter agreed to bankroll the film. Zanuck also came up with the movie’s title, after Elmo Williams, managing director of 20th Century Fox in Europe, told the producer that his wife had written an opening lyric to the movie’s song:

“Those magnificent men in their flying machines,
They go up diddley up-up, they go down diddley down-down!”

Annakin complained would eventually “seal the fate of the movie”. However, after being put to music by composer Ron Goodwin, the “Those Magnificent Men in their Flying Machines” song would become the “irresistible” jingle-style theme music for the film and go on to have a “life of its own”, even released in singles and on the soundtrack record. I can relate. To this day, I still consider the tune one of the best theme songs in movie history.

Annakin, along with Jack Davies, wrote a story that opened with a brief, comic introductory segment on the history of , narrated by James Robertson Justice and featuring American comedian Red Skelton (in a cameo appearance) that depicted a recurring character whose aerial adventures span the centuries, in a series of silent blackout vignettes that incorporate actual stock footage of unsuccessful attempts at early aircraft. As the story unfolded, Lord Rawnsley (Robert Morley), a newspaper magnate whose favorite to win his race is his daughter’s ( fiancé, Richard Mays (James Fox). Lord Rawnsley summed up the expectation that a Britisher should win the competition: “The trouble with these international affairs is they attract foreigners.” An international cast plays the array of contestants, most of whom live up to their national stereotypes, including the fanatically by-the-book, monocle-wearing Prussian officer (Gert Fröbe), the impetuous Count Emilio Ponticelli (Alberto Sordi), an amorous Frenchman (Jean-Pierre Cassel), and the rugged American cowboy Orville Newton (Stuart Whitman), who falls for Lord Rawnsley’s daughter, Patricia (Sarah Miles).

The main entertainment came from the amusing dialogue and characterizations and the daring aerial stunts, with a dash of heroism and gentlemanly conduct thrown in for good measure. Terry-Thomas portrayed the cheating Sir Percival Ware-Armitage, an aristocratic rogue who “never leaves anything to chance”. With the help of his bullied servant Courtney (Eric Sykes), he sabotaged other aircraft or drugs their pilots – only to get his comeuppance in the end. The film is also notable for its use of specially constructed reproductions of 1910-era aircraft, including a triplane, as well as monoplanes and biplanes. Air Commodore Wheeler insisted on using the authentic materials of the originals, but with modern engines and modifications (where necessary) to ensure safety.

In the end, “THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES” became one of the most successful “epic comedies”to emerge from the 1960s. Not only did it score top notches at the box office, it was also nominated and received various movie awards in both the U.S. and Great Britain. The original screenplay written by Ken Annakin and Jack Davies was nominated for an Academy Award for Best Writing Directly for the Screen (1966). The film was also nominated in the category of Best Writing, Story and Screenplay – Written. At the 1966 Golden Globes, the film won Best Motion Picture Actor – Musical/Comedy for Alberto Sordi, as well as being nominated in Best Motion Picture – Musical/Comedy and Most Promising Newcomer Male for James Fox.

I can say with true honesty that “THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES” has become one of my favorite movies from the 1960s. Ken Annakin and his production crew had created a stylish and funny movie. The movie was filled with memorable characters like Terry-Thomas’ dastardly Sir Percival Ware-Armitage, Alberto Sordi’s eager aviator Count Emilio Ponticelli and Gert Fröbe’s by-the-book Prussian Colonel Manfred von Holstein. One very witty moment featured the arrival of the Japanese pilot, Yamamoto (Yujiro Ishihara), whose description of his journey from Japan to Great Britain turned out to be less exciting than a reporter had assumed.

Thomas N. Morahan’s production design and Osbert Lancaster’s costumes managed to evoke the bygone era of Europe and especially Great Britain during the last years before the outbreak of World War II. Christopher Challis’ photography and the Special Effects department led by Ron Ballinger did a great job in re-creating the actual air race shown during the last third of the film. Two of my favorite scenes featured the contestants leaving Dover to cross the English Channel and the race’s exciting finale in Paris. I also enjoyed the pre-race interlude at Dover in which the contestants and their families/companions spend a few hours frolicking in the sea and sipping champagne.

Not all seemed perfect with “THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES”. One tiresome aspect of the film included the running joke featuring Pierre Dubois’ (Jean-Pierre Cassel) encounters with six women of different nationalities that all look alike and are portrayed by Irina Demick. I found it slightly amusing when Dubois encountered two of the women. By the time of Dubois’ encounter with the fifth Irina Demick, I found myself screaming for the joke to end. Romance did not fare very well in the movie. Granted, James Fox’s Mays and Sarah Miles’ Patricia made a quaint couple. But Whitman’s arrival as Orville Newton, Mays’ rival in the race and for Patricia’s hand, did not improve matters. The problem was that Whitman and Miles made a poor screen team. According to Annakin, the two actors had a falling out after Whitman attempted to romantically pursue Miles and the two ended up disliking each other so much, they had trouble portraying a romance between Orville and Patricia. Mind you, Whitman and Miles had a few scenes that did generate chemistry. I suspect those scenes had been filmed before the fallout.

I must admit that “THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES” can boast some hilarious moments and dry wit. But most of the humor seemed focused upon the Keystone Cops antics of the aviators during the days leading up to the race and the race itself. Most of the film’s humor featured bizarre plane crashes, hackneyed stunts and cliché portrayals of the various nationalities featured in the film. I rather liked the comedian Benny Hill . . . but not in this movie. In “THOSE MAGNIFICENT MEN”, he portrayed a fire chief, whose job was to keep an eye out for aviation accidents. And whenever a crash occurred, it gave Hill and his cronies the opportunity to engage in an extreme form of slapstick humor that forced me to press the Fast Forward button of my DVD player . . . every damn time. But if there is one aspect of the movie I find frustrating, it is the fact that “THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINE” is a two hour and eighteen minute film about an air race . . . that does not occur on screen until the last 45-47 minutes. The movie’s first fifteen or twenty minutes focused upon the characters’ introduction. But most of the movie’s action does not focus upon the race. Instead, it focused upon the few days before the race in which one has to endure practice flights that include countless crashes and slapstick humor. And every time I watch this film, I find this aspect so . . . damn . . . FRUSTRATING.

Technically, “THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES” is a first-rate film. Although I found some of the dry humor to be rather sharp and entertaining, the slapstick humor that dominated the film became very hard for me to bear. I am also not thrilled that only one-third of the film had focused upon the actual race. But I have to give the movie points for the creation of interesting characters like Sir Percy Ware-Armitage and Count Emilio Ponticelli, along with a memorable and catchy theme song. And I must give Annakin and his production crew credit for re-creating a charming look at the elegance of pre-World War I Europe. Overall, “THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES” has remained a fun and entertaining look at the early days of aviation that moviegoers today might still enjoy.

“THE SUPERSIZERS”: Eating Through History

 

3705207732_4f57171a9f

Here is a look at a series of episodes about the history of food, mainly in Britain:

 

“THE SUPERSIZERS”: Eating Through History

edwardian supersize me

In April 2007, the BBC aired a special episode in which food critic Giles Coren and broadcaster-comedienne Sue Perkins explored the history of food during the Edwardian Age. The result was the television special called “Edwardian Supersize Me”. This episode was part of a series called “The Edwardians — the Birth of Now”.

Following the success of this special, the BBC commissioned a series of six episodes in which Coren and Perkins explored the history of food through six eras in British history. This series, which aired in May and June of 2008, was called “The Supersizers Go . . .”. Below is a list of the episodes:

“The Supersizers Go . . .”

CCSGO101_Giles-Coren_Sue-Perkins_Wartime_lg

“Wartime”

restor1

“Restoration”

CCSGO103_Giles-Coren-Sue-Perkins-Victorian_s4x3_lg

“Victorian”

CCSGO104_Giles-Coren_Sue-Perkins_Seventies_lg

“Seventies”

elizab1

“Elizabethan”

CCSGO106_Giles-Coren-Sure-Perkins-Regency_s4x3_lg

“Regency”

Following the success of “THE SUPERSIZERS GO . . .”, the BBC commissioned a second series of episodes featuring Coren and Perkins called “THE SUPERSIZERS EAT . . .”. Here is the list of episodes from that series:

“The Supersizers Eat . . .”

CCSGO108_Giles-Coren-Sure-Perkins-The-Eighties_s4x3_lg

“The Eighties”

Giles-Goran-and-Sue-Perkins-dressed-in-Medieval-attire-©-BBC

“Medieval”

CCSGO110_Giles-Coren-Sure-Perkins-French-Revolution_s4x3_lg

“The French Revolution”

CCSGO112_Giles-Coren-Sure-Perkins-Twenties_s4x3_lg

“The Twenties”

CCSGO108_Giles-Coren-Sue-Perkins-Eighties_s4x3_lg

“The Fifties”

CCSGO113_Giles-Coren-Sue-Perkins-Ancient-Rome_s4x3_lg

“Ancient Rome”