"GREAT EXPECTATIONS" Adaptations

 

Charles Dickens' 1861 novel, "Great Expections" is highly regarded as one of the author's best works. Although there have been numerous adaptations, I have seen only three of them. Needless to say, I have mixed feelings about them:




"GREAT EXPECTATIONS" ADAPTATIONS



1. "Great Expectations" (1946) - Directed by David Lean and starring John Mills, this adaptation from 1946 seemed to be regarded as the benchmark all versions of Dickens' novel are compared. And for the likes of me, I cannot see why. Thanks to Guy Green and Robert Krasker's photography, it is a beautiful looking movie. The movie also featured some excellent performances, especially from Jean Simmons, Finlay Currie and Alec Guinness. However, I ended up feeling less than satisfied with the screenplay written by Lean and co-screenwriters Anthony Havelock-Allan and Ronald Neame. I found the movie’s second half rushed and unfulfilling.






2. "Great Expectations" (1999) - Directed by Julian Jarrold and starring Ioan Gruffudd, this television adaptation seemed to be an improvement over the 1946 movie. I thought it did an excellent job of conveying Pip’s obsession with Estella and in becoming a gentleman. And I loved Odile Dicks-Mireaux's costume designs, along with Ian McDiarmid as the attorney Jaggers. I was also impressed by Gruffudd’s portrayal of Philip "Pip" Pirrip. However . . . I thought Charlotte Rampling had been miscast as Miss Haversham. Her take on the character seemed to lack bite. And I did not care for the miniseries' ending. Following a major character's death, the narrative's ending seemed to peter out in a vague manner.






3. "Great Expectations" (2023) - Directed by Brady Hood and Samira Radsi, and starring Fionn Whitehead; this television adaptation was loathed by the critics. I actually enjoyed it, but I had some quibbles that included the heavy and unnecessary use of profanity, the resolution of Magwitch's arc occurring at Miss Haversham’s home, instead of the Thames River; and Pip's fate regarding his profession. On the other hand, I really liked the performances, especially those from Olivia Colman as Miss Haversham and Ashley Thomas as Jaggers. I also liked how the miniseries conveyed Pip's obsession with Estella and in becoming a gentleman, along with how the access of easy money came dangerously close to corrupting him.


But if I must be frank, the above adaptations had failed to knock my socks off. In other words, I have yet to see an adaptation of "Great Expectations" that has impressed me. Considering the numerous adaptations I have yet to see, there is the chance I might come across that exceptional adaptation.

"ALL IN A NIGHT'S WORK" (1961) Review

 

"ALL IN A NIGHT'S WORK" (1961) Review

Sixty-four years ago, Paramount Pictures released a quirky romantic comedy directed by a journeyman director named Joseph Anthony. The movie had been released during a period in Hollywood that saw the release of a good number of films known as "bedroom comedies". The most famous of these movies featured the Doris Day/Rock Hudson screen team from Universal Pictures. But one of the most unlikely bedroom comedies I have come across was Anthony's 1961 flick, "ALL IN A NIGHT'S WORK".

The movie begins with the death of a wealthy magazine publisher inside a Palms Beach, Florida hotel. The dead man's playboy nephew, Tony Ryder, inherits the company; but is left with a board of directors whose members believe he is unsuited for the task of managing it. Even worse, the Palm Beach hotel's detective, Mr. Lasker, informs Tony and the board of the young woman he had spotted running away from his uncle's hotel room, wearing nothing but a Turkish towel and an earring, on the night of Colonel Ryder's death. Both Tony and Lasker discover that the young woman in question is Katie Robbins, a Ryder employee who works for the magazine's research department. Anticipating a bank loan, Tony and the Board members fear Katie might blackmail the company or expose the Colonel's promiscuous past. They, along with Lasker, resort to learning the truth about Katie's encounter with Colonel Ryder or ensure her marriage to her strait-laced veterinarian fiancé in order to silence her about the Colonel's death at all costs.

That is correct folks. "ALL IN A NIGHT'S WORK" is basically a comedy about mistaken identity. You see, Tony Ryder and the Board members mistakenly believe she may have been the Colonel's past mistress. The reality is that Katie had found herself in the magnate's hotel room by mistake and under different circumstances. She had been fleeing from a drunken millionaire whom she had saved from drowning in the hotel's swimming pool . . . and who had repaid her Good Samaritan act with an aggressive attempt at seduction. So much for good deeds. Because Tony and the Board need funds to finance the magazine's expansion, they view Katie's encounter with the dead Colonel as a potential threat.

Superficially, "ALL IN A NIGHT'S WORK" seemed like one of those typical sex comedies that Hollywood studios made by the dozens from the late 1950s to the mid-1960s. I certainly would not describe the 1961 comedy as the best of the bunch. Its portrayal of Midwesterners struck me as bit one-dimensional. And modern-day filmgoers might find some of its attitude toward women slightly offensive. I refer to one scene in which Tony not only admire Katie for her brains, but also admire her ability to hide her brains. Like . . . what the hell? Regardless of those little peccadilloes and the fact that I do not regard it as one of the best mid-century sex comedies I have seen . . . I rather enjoyed "ALL IN A NIGHT'S WORK". In fact, I more than enjoyed it. I found it slightly unusual from the usual flicks of its genre.

What was it about "ALL IN A NIGHT'S WORK" that I found unusual? For me, the real humor stemmed from the corruption that reeked in the film's narrative. Whether that corruption came from the countless men who try to proposition Katie - including Tony, to the Board and Lasker's assumption that Katie was the Colonel's mistress without really knowing her story. In one funny sequence, Katie has a disastrous evening on the town with her fiancé Dr. Warren Kingsley, Jr. and his visiting Kansas parents, thanks to Tony's interference at two nightclubs and Mrs. Kingsley's negative judgmental attitude toward her. Yet, the most hilarious example of the corruption that permeated the film came from the topic of greed in the form of the Board of Directors. Desperate to acquire the bank loan to expand the magazine, they not only bemoaned the possibility of Katie blackmailing them but discussed various ways to silence her and ensure that loan. They were absolutely hilarious. The only other sex comedy that I believe permeated with corruption in the form of business survival was the 1961 Doris Day/Rock Hudson film, "LOVER COME BACK". Nineteen sixty-one was an interesting year.

Am much as I had enjoyed the movie's narrative, what I really enjoyed about "ALL IN A NIGHT'S WORK" was its cast. The movie featured first-rate performances from supporting cast members like Norma Crane, Rosemarie Stack, Ian Wolfe, John Hudson and a very funny Jack Weston, who portrayed the Palm Beach hotel detective who had first spotted Katie leaving Colonel Ryder's suite. Cliff Robertson gave solid support as Katie's upright fiancé Dr. Warren Kingsley Jr. Mable Albertson was appropriately prim and oppressive as young Warren's priggish mother. On the other hand, Charles Ruggles gave a very charming performance as Dr. Warren Kinglsey Sr., the only member of the Kingsley family who knew how to enjoy a good time.

However, there were at least five performances that I truly enjoyed. Three of them came from Gale Gordon, Jerome Cowan and Ralph Dumke; who portrayed the senior members of the Board Members. Watching them bemoan over the possibility of Katie being Colonel Ryder's mistress and plot to find ways to keep her silent were among the true highlights of the film. And then we have our two leads - Dean Martin and Shirley MacLaine. I just realized the pair had made six films together. Six. I suppose I should not have been surprised. Martin and MacLaine had great screen chemistry. And this was apparent in their scenes together. Martin's smooth charm and subtle sense of humor contrasted perfectly with MacLaine's more nervous and kinetic performance as the much put upon Katie. I also enjoyed Martin's subtle, yet sly reactions to the Board Members' bombastic plotting against the movie's leading lady. And what I also enjoyed about MacLaine's performance is how she managed to convey Katie's worldliness beneath a seemingly naive persona - especially when dealing with over amorous men.

Earlier, I had stated that I did not consider "ALL IN A NIGHT'S WORK" as one of the best sex comedies from the mid-20th century. Perhaps it is not one of the best. But I now believe it is one of the most original I have ever come across. It might also be one of my favorites from that particular era in Hollywood history, thanks to Joseph Anthony's solid direction; a first-rate screenplay written by Edmund Beloin, Maurice Richlin and the legendary Sidney Sheldon; and superb comedic performances from a cast led by Dean Martin and Shirley MacLaine. What else can I say?

"G.I. JOE: RETALIATION" (2013) Photo Gallery

 

Below are images from "G.I. JOE: RETALIATION", the sequel to the 2009 movie, "G.I. JOE: THE RISE OF COBRA". Directed by Jon M. Chu, the movie stars Dwayne Johnson, Byung-Hun Lee, Adrianne Palicki, Ray Park, and D.J. Controna:

 



"G.I. JOE: RETALIATION" (2013) Photo Gallery

"MURDER AT 1600" (1997) Review

 

"MURDER AT 1600" (1997) Review

Remember the action films from the 1980s and the 1990s? I do. Several days ago, I found myself thinking about them and realizing that the Hollywood industry rarely, if ever, made them anymore. I ended up searching my collection of old DVDs and found my copy of the 1997 action thriller called "MURDER AT 1600".

Directed by Dwight Little and starring Wesley Snipes and Diane Lane, "MURDER AT 1600" begins with the discovery of the dead body of a Presidential secretary named Carla Town inside one of the bathroom stalls at the White House. Much to the Secret Service's surprise, National Security Advisor Alvin Jordan requests that the Washington D.C. Metropolitan Police investigate the murder. The police sends homicide Detective Harlan Regis and Detective Stengel to serve as the investigators. Secret Service Director Nick Spikings assigns Agent Nina Chance to serve as liaison between the Metropolitan Police and the U.S. Secret Service.

The murder inside the White House proves to be the latest scandal to mar President Jack Neil's administration. The President is also dealing with an international crisis in which thirteen American servicemen are being held hostage by the North Korean government. Although President Neil wants to resolve the situation without starting a war, many within his circle and the press wants him to send troops to rescue the hostages. While Neil deals with the crisis, Regis and Stengel's investigation leads to a major suspect - a White House janitor named Cory Allen Luchessi. However, Regis eventually realizes that Luchessi is innocent. He also manages to convince Agent Chance to help him find the real culprit, leading her to finding herself at odds with Spikings and her fellow Secret Service agents.

"MURDER AT 1600" is not some classic Hollywood action movie. It has never been regarded on the same level as the "DIE HARD" franchise or something like "BULLITT". I could see why during my recent re-watch. Like many action films from the late 20th century, "MURDER AT 1600" featured some cliched dialogue. On two separate occasions, a character mentioned details from the John F. Kennedy assassination. Why? What did the homicide of a secretary had to do with the assassination of president? Some people might regard its plot as a bit over-the-top. I mean . . . a Washington D.C. homicide detective investigating a murder committed inside the White House? I doubt very much such a thing would actually happen . . . or be allowed. And like many action films from the 1980s and 1990s, "MURDER AT 1600" has - thankfully - a small share of cheesy dialogue that became popular with the early DIE HARD movies.

I have not seen "MURDER AT 1600" in years. Before I had started this latest re-watch, I had assumed that my positive feelings for this film would change. And you know what? I was wrong. I ended up enjoying "MURDER AT 1600" even more than ever. Despite certain implausible aspects of the movie's narrative, I actually enjoyed the story. Thanks to screenwriters Wayne Beach and David Hodgin's script, "MURDER AT 1600" provided a well-executed combination of a mystery, an action thriller, and political intrigue. Regis's hobby of constructing tabletop miniatures of Civil War battles and sites played a role in the movie's final action sequence. I enjoyed how the film's scandals and political intrigue allowed Regis to comment on the toxic nature of Washington D.C. politics and intrigue. Regis's conflict with the Secret Service provided a character arc for Nina Chance, allowing her to choose between protecting the First Family's secrets on behalf of the agency and doing the right thing. Even the implausible aspects of the movie - Regis's appointment as investigator and mentions of the JFK assassination - ironically ended up serving the plot's political intrigue. Not long after Regis and his partner, Stengel, arrived at the White House, Spikings had expressed the implausibility of two local homicide detectives investigating a murder inside the White House - which is Federal property. As it turned out, Regis's appointment played a substantial role in the movie's political intrigue. And the comments on the JFK assassination served hints to what was really going on. My recent viewing of "MURDER AT 1600" reminded me that Beach and Hodgin's screenplay seemed to feature a great deal of red herrings, along with an interesting bait-and-switch plot point.

Lest we not forget, "MURDER AT 1600" is also an action thriller. And thanks to director Dwight Little, film editors Leslie Jones and Billy Weber, and Shane Cardwell's stunt team; the movie featured some very effective action sequences. But there were at least three action scenes that stood out for me. They include Agent Chance's theft of the murder victim's appointment book from the Secret Service's archives and her flight from the building, along with Regis and Chance's encounter with two assassins at a suspect's Maryland home. But the film's pièce de résistance proved to be the final action sequence that involved the pair and Stengel's infiltration of the White House via a tunnel, another deadly encounter with a government assassin and Regis' attempt to reach the President.

If there is one thing I can say about "MURDER AT 1600", it is a lovely movie to view. Cinematographer Steven Bernstein provided a visual feast of Washington D.C., Maryland and Virginia locations, thanks to his sharp and colorful photography. Christopher Young's score served the movie well with its rich, yet mellow score that emphasized the narrative's political intrigue and murder mystery. Not only did Jones and Weber's editing serve the movie's action scenes very well, but also the movie in general. In fact, I honestly believe "MURDER AT 1600" was a well-paced film - not to fast, but at the same time, it did not drag.

I do not know what to say about the movie's performances. I had earlier stated that the movie had some cheesy dialogue that was prevalent in action movies thirty to forty years ago. I do not believe the dialogue was bad enough to sabotage the performances, thank goodness. But I cannot honestly recall a performance that stood out above the rest. All or most of the performances - aside from one in particular - struck me as pretty solid. More importantly, Wesley Snipes and Diane Lane both did great jobs in carrying the film. Frankly, either one of them could have done the job alone. But they managed to form a pretty damn good screen team. Both Dennis Miller and Diane Baker also gave solid performances, but I felt they had been somewhat underused in "MURDER AT 1600" - especially Baker, whose only lines were part of a speech at a fundraiser scene. And Miller seemed to be used mainly as the occasional comic relief. But that one performance that seemed off-kilter to me came from Charles Rocket, who had portrayed a recently fired government employee threatening to kill himself in the middle of a D.C. thoroughfare. I found his performance a bit over-the-top. Ironically and tragically, Rocket committed suicide some eight years later.

"MURDER AT 1600" has its shares of what I believe to be minor flaws - some contrived plot points and cheesy dialogue. But overall, I believe it is a more-than-solid action film and political thriller. I thought it held up very well after so many years, thanks to Wayne Beach and David Hodgin's screenplay, Dwight Little's direction and a solid cast led by Wesley Snipes and Diane Lane. It also led me to long for a return of the action films of the 1980s and 1990s - something I believe that is sorely needed.

"ALL IN A NIGHT'S WORK" (1961) Photo Gallery

 

Below are images from the 1961 comedy, "ALL IN A NIGHT'S WORK". Directed by Joseph Anthony, the movie starred Dean Martin and Shirley MacLaine:




"ALL IN A NIGHT'S WORK" (1961) Photo Gallery