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Tag Archive: Wendell Corey


Review by C.J. Bunce

If Turner Classic Movies says that Die Hard is a Christmas movie, then the discussion is over finally, right?

It’s that time of year again and Turner Classic Movies is back showing some of the best Christmas movies from across the decades.  This year host Ben Mankiewicz is interviewing author Jeremy Arnold before and after the screening of movies Arnold has selected to feature in his new book, TCM: Christmas in the Movies–30 Classics to Celebrate the Season.  And yes, Arnold’s list includes Die Hard.  So as the British say, “end of.”  Most readers and movie fans will likely agree with at least twenty of the selections discussed in the book, and the rest are there ready for some good discussions with friends over some egg nog this holiday season.

It’s also likely this bucket list of movies has several films that even avid movie watchers may have missed.  I set up my DVR to pick up a few in the book I hadn’t seen yet and was surprised at how superb a selection Holiday Affair is.  It stars Janet Leigh, Robert Mitchum, Wendell Corey, Henry Morgan, plus young Gordon Gebert in what must be the best-ever performance by a child actor in a Christmas movie.  This is exactly the kind of value you get with a book like Christmas in the Movies–this movie will now be added to my own favorite Christmas movie list.  For each entry Arnold discusses the actors, plot, audience reception and the impact of the film, and why it’s a good Christmas season film for audiences today.

Along with Die Hard, which is smartly defended by Arnold, you’ll find the usual suspects like Miracle on 34th Street, It’s a Wonderful Life, White Christmas, A Christmas Story, and Elf, plus some lesser known gems, like Remember the Night, the first of four films that would pair Barbara Stanwyck and Fred MacMurray, plus Ginger Rogers and Joseph Cotten in I’ll Be Seeing You, and Humphrey Bogart in We’re No AngelsArnold picks up genre films Gremlins and The Nightmare Before Christmas, and even a few Westerns, including 3 Godfathers starring John Wayne.

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Stewart camera Rear Window

Review by C.J. Bunce

One of the first classic movies restored using a state of the art Technicolor dye-transfer process, the restoration of Alfred Hitchcock’s most stylish and suspenseful film, Rear Window, provided 1990s audiences a presentation of the film better than it was originally seen upon its initial release in 1954.  That version was back on the big screen this week, thanks to Turner Classic Movies and the Fathom Events series.  Inspired by a Cornell Woolrich short story about voyeurism and murder, Hitch’s classic piece of cinema still holds up, keeping a 2015 audience completely engaged with his unique use of humor juxtaposed with some pretty grisly circumstances.

Anchored by top performances from Jimmy Stewart and Grace Kelly, and just as superb supporting performances by Thelma Ritter and Wendell Corey, Rear Window is as atmospheric as any film of its decade.  Hitchcock filmed primarily in the muted brown tones of a sweltering urban summer, but he used targeted deep reds to highlight key imagery: the mercury of a wall thermometer, a bright and significant bed of flowers, a perfect lobster dinner, crisp uneaten bacon, and a certain fashionable socialite’s lipstick in her opening scene.  And yet, unlike Hitchcock’s The Birds or Psycho, the red of blood–and any gore at all–is kept off-stage.  He didn’t need it.  The suspense builds for two hours and even after 60 years, the payoff–and especially what we can’t see–is still able to transfix audiences with nail-biting action.

Stewart Kelly Rear Window scene

Highly memorable is the music–a soaring clarinet rises up above Franz Waxman’s jazz score from the film’s first scene, reflecting the liveliness of the block, the active and important parts of all the lives visible from the rear window of Stewart’s L.B. “Jeff” Jeffries, a war photographer laid up with a broken leg.  Waxman’s stylish music propels the story forward despite Jeff’s claustrophobic, trapped circumstance.  Love themes, like Bing Crosby’s “To See You is to Love You” and “Many Dreams Ago” reflect the seemingly hopeless plight of Miss Lonelyhearts–a single woman longing to find love who is attacked and then plans to commit suicide.  Waxman’s own song “Lisa” takes on its own life, composed over the course of the film by a piano player across the courtyard, to get noticed by Miss Lonelyhearts, and be picked up as the love theme for Jeff and Grace Kelly’s character, Jeff’s girlfriend Lisa Fremont.  And to relieve the tension at story’s end, a rousing accordion plays “That’s Amore” to the curtain.

Rear Window Stewart Corey

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