Tag Archives: Melina Mercouri

Gaily, Gaily (1969)

gaily gaily

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Naive fellow becomes wise.

Ben Harvey (Beau Bridges) is a sheltered young man who decides to leave the safe confines of his humble little town and make a go of it in the big city of Chicago in 1910. However, soon after arriving he is robbed of all of his money and then taken in by Lil (Melina Mercouri) a Madame at the local brothel. Ben then gets a job at the city newspaper, but finds corruption at every turn and when he tries to stop it he ends up falling victim to its allure like everyone else.

The first hour is engaging. It features just the right mix of Americana and whimsy. The pace is quick with a wonderfully quirky sense of humor that comes flying fast and furiously. Opening the film by having Ben dreaming of topless women and featuring some very old turn-of-the-century black and white porno pics is funky. I also liked the scene where Ben manages to make all the prostitutes at the bordello he is staying at teary-eyed after reading them a sad story that he had written. The look at Lil’s face when he tells her that his life’s ambition is to ‘change the world’ is a hoot.

Unfortunately the second half deteriorates badly. The scenes become stretched out too long and the attempts are farcical humor lack any cleverness. The side-story about the attempts of a mad scientist Dr. (Charles Tyner) at using a serum he has invented to revive the dead is stupid. The slapstick like chase sequence gets overblown and the whole thing ends on a flat and boring note, which is a shame. The sets and costumes recreating the period atmosphere are wonderful, but put to waste by the silly script. I felt the film could have been more interesting had it taken a more realistic and dramatic route.

Bridges is actually pretty good. He has played the wide-eyed idealist so many times that it becomes a bit annoying, but here he seems to be making fun of it and it works to an extent. However, his extreme naivety at not catching on that the women he is living with are prostitutes is just too over-the-top and makes you almost want to hit him on his head in order to drive some sense into it.

Brian Keith does well playing the type of gruff, brash character that he excels at. George Kennedy though seems stiff and out of place in the setting and does not appear to be particularly adept at comedy.

Mercouri looks to be having a lot of fun here and her singing isn’t bad either. Margot Kidder is fantastic in her film debut and one of the best things about the film. She plays one of Lil’s prostitutes who takes a liking to Ben and I enjoyed how her character goes from being jaded to idealistic and rather naïve. Melodie Johnson is great simply because she is gorgeous to look at. She is now a successful novelist and judging from the pictures on her website is still looking quite attractive.

My Rating: 5 out of 10

Released: December 16, 1969

Runtime: 1Hour 47Minutes

Rated R

Director: Norman Jewison

Studio: United Artists

Available: Amazon Instant Video, Netflix streaming

Topkapi (1964)

topkapi 1

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Granddaddy of heist movies.

Elizabeth (Melina Mercouri) and Walter (Maximilian Schell) have formed a group of amateur thieves to help them steal an emerald dagger out of the famed Topkapi Palace in Istanbul, Turkey. Problems ensue when one of the original members of the group becomes injured and they are forced to hire on the services of Arthur Simon Simpson (Peter Ustinov) a bungling, portly small-time crook whose on-going ineptitude almost throws their well thought out plans into jeopardy.

This film has become the granddaddy of heist films and rightly so. Based on the novel ‘The Light of Day’ by Eric Ambler the story is well-crafted and nicely detailed. The plan is elaborate, but fortunately believable and plausible. Director Jules Dassin seems to have all the logical loopholes covered. The production design is plush and captivating with just the right amount of offbeat touches to keep it original and cinematic. I found myself enjoying the dry humor and characterizations interspersed in-between the planning and action. The momentum builds evenly without every feeling rushed, or draggy. The on-location shooting is a plus that not only captures the sunny climate, but also the distinct ambience and look of the region.

The climatic sequence involving the actual heist is exciting. The actors do all of their own stunts including Gilles Segal as Guilio being lowered upside down into the palace by a rope being held rigorously by Walter and Arthur and doing most of his maneuvers trapeze style. The whole scene had me holding my breath most of the way and Dassin manages to capture if all from different and interesting angles while allowing the silence to help create the tension.

Ustinov is in fine form and deservedly won the Oscar for best supporting actor. Supposedly the part was originally intended for Peter Sellers, but Ustinov gives the character a lovable quality that I don’t think Sellers could. Ustinov’s rotund physique is an added benefit and his nervous looking facial expressions are consistently amusing with the interrogation scene by Turkish authorities being his best moment. It’s nice to see the character evolve and find a confidence he didn’t think he had while gaining a begrudging respect from the others.

Mercouri sizzles. Normally I am not crazy about women with deep, throaty voices like hers, but she makes it tantalizing. The character is a self-described nymphomaniac and the expression on her face as she watches a group of men spread lotion over their half-naked bodies is worth the price of the film.

The rest of the supporting cast is okay, but I found it odd how very polished they were when Walter insisted that he wanted amateurs for the heist that had no criminal background, or record. Having them behave in a befuddled besides just Arthur would have been more realistic and expected. I also didn’t like that the Guilio never says a single line of dialogue. Apparently the character was a mute, but there is no reason given for it and in the process makes him transparent and boring.

Spoiler Alert!

The only real problem I had with the movie is the ending. As Guilio is exiting the palace a little bird flies through the window while he is closing it, which in turn sets off an alarm, which leads to the gang getting arrested. However, I couldn’t understand how the trapped bird would’ve allowed the police to figure out what happened as an exact replica of the dagger that they swipe is put onto the chest of the sultan figure. To me it just seemed like one twist too many and the scenes showing them inside the prison is campy and forced. These guys had been portrayed as being slick and sophisticated most of the way, so why turn them into clowns at the end. Possibly this was done to show that ‘crime doesn’t pay and no crime portrayed in a film should go unpunished’, which was a code most movies were forced to work under in the past. Either way it doesn’t work and kind of hurts what is otherwise a snappy piece of entertainment.

My Rating: 8 out of 10

Released: September 17, 1964

Runtime: 2Hours

Not Rated

Director: Jules Dassin

Studio: United Artists

Available: VHS, DVD (Region 1 and 2), Amazon Instant Video