Vegas' cool factor

OCEAN'S ELEVEN (1960)

Reviewed by Jerry Saravia

Though it is dated in every respect, "Ocean's Eleven" is an entertaining, relaxing film, probably the most relaxed film ever to depict a heist and its aftermath. But what distinguishes it from most similar pictures is its cast and its setting of a Las Vegas that no longer exists.

This classic 1960 picture directed by Lewis Milestone has all the famous Rat Pack members in their first major picture as a group. Frank Sinatra plays the debonair Danny Ocean who organizes all his buddies (all ex-military) to perform one daring, improbable heist - to rob five Las Vegas casinos at the same time. The plan is foolproof. All it takes is some preparation and expert timing, particularly when involving a certain blackout of an entire city.

One does not go to movies like "Ocean's Eleven" for anything more than dazzling entertainment. Dazzling is not what I would call it but certainly classy and clever are better descriptions. The major pleasure is seeing Sinatra, Dean Martin, Sammy Davis, Jr., Peter Lawford and Joey Bishop performing together as they conspire, bicker, drink and croon. As for the latter, two major highlights involve singing. One is the title track "Ee-O-Eleven" sung by Sammy Davis, Jr. and the other is Dean Martin rocking on with "Ain't that a kick in the head." These scenes are simply there as in-jokes, in a sense, since the Rat Pack was performing in Vegas at the time while making this film (look closely at the final shot of the film for direct proof of this). Sammy's rendition of "Ee-O-Eleven" is sublime because the lyrics refer to the joys of being rich - "Someday I'll have me a chauffeur, and a block long limosine."

Robbing these casinos will make them rich but there is always a glitch, as usual. Lawford's character's future stepfather (Cesar Romero) has connections with the police in town and other sources and has the resources to find out who committed these robberies. It only takes the harmless comments made by Lawford's character's mother to spill the beans since Romero proves unsuccessful at finding any connections to any outfit.

Some of the dialogue sparkles like fine old wine and sometimes it smacks of raw vinegar. One of the greatest character actors of all time, Akim Tamiroff (who plays the master planner behind the casino heists), delivers the coup de resistance line after hearing that his crew might be dead - "The Los Angeles County Morgue!" You have to watch Tamiroff to see how priceless the scene is. But the occasional clunker creeps in. Example: "Our marriage got drowned in champagne," as said by Angie Dickinson in a throwaway role as Danny Ocean's ex-wife.

"Ocean's Eleven" is sparkling, classy entertainment that feels long because of how much time is invested in the gathering of the crew, the planning of the robbery and the final outcome resulting in a hysterical, morose ending that will leave you in a mild state of shock. Actually, this is a film about the Rat Pack in all respects, showing their attitude, their clothes and their debonair qualities. And of course, with the exception of Sinatra, their singing.

Big Trouble in Red China

THE CHAIRMAN aka THE MOST DANGEROUS MAN IN THE WORLD (1969)

Reviewed by Jerry Saravia

Often engrossing and captivating, J. Lee Thompson's "The Chairman" is also a comic-book film about spies but done with whip-smart dialogue and fine acting that help elevate it from any number of anonymous 1960's spy pictures post-James Bond.

Gregory Peck is Dr. Hathaway, a Nobel Prize scientist who is sent by the U.S. government on a difficult mission to China. The mission: pretend to be a defector and find an unfinished formula for an agricultural enzyme that allows wheat crops to grow during any type of climate. If Dr. Hathaway fails to find the formula from another scientist and former associate of Hathaway's, Dr. Siong Li (Keye Luke), then, well, why reveal too much here. Let's say that the reliable U S of A has implanted a chip in Hathaway's skull that is more than a listening device.

Interestingly, "The Chairman" builds its suspense slowly rather than on extended chase sequences. Most riveting is an encounter the good American doctor has with Mao Tse Tung (Conrad Yama) - the controversial chairman of Communist China is not depicted as a one-dimensional cartoon but rather as a human being trying to come to terms with American diplomacy. The star of the film is really the titanic presence of Gregory Peck, who is credible and believable from one scene to the next. He makes us believe that he is the only one who can handle this dangerous mission, and makes us believe he might also fail.
Most riveting in "The Chairman" is the depiction of peasants in Red China, all holding Mao's Little Red Books. The opening title sequence is explosive, thanks to bullseye editing by Richard Best and overpowering music by Jerry Goldsmith, that depicts Mao's China with striking shots of the people overlapped with portraits of Mao. The rest of the film is essentially a chase picture with Peck trying to steal the formula while evading the Red Army, meanwhile there is that issue with the listening device...

"The Chairman" is practically old-fashioned entertainment, dependent on dialogue and wit than on special-effects. The intense climax, which includes a wounded Peck trying to squeeze himself under a wire charged with 10,000 volts, has got to be seen to be believed. You won't believe a minute of it, but it doesn't mean it won't thrill you.

Wandering amnesiac in New York

MISTER BUDDWING (1966)

Reviewed by Jerry Saravia

If there is one kind of story I love, it is the tale of the wandering amnesiac. Though hardly the best example of it, "Mister Buddwing" is a solid tale of anxiety and helplessness, at least for 3/4 of the way through.

James Garner, in a rare and dramatic performance, is walking around Central Park in New York, unaware of who he is or where he comes from. The first shot of the film shows his point of view, which is deliberate skewed as he tries to focus on the New York City skyline and eventually looks at his hands. He carries a ring with an inscription that reads "From GV." He also has a phone number and calls it, not knowing who will answer. Someone named Gloria (Angela Lansbury) has the number, and Mr. Anonymous arrives at her residence. She doesn't know him and he certainly doesn't recognize her, so you could say the plot thickens. He gives himself the name Sam Buddwing, due to a Budweiser truck and an airplane he spots. Nothing of his past or any memories are triggered until he sees a woman (Katharine Ross) sitting on a bench. Could she be the elusive Grace, his wife?

"Mister Buddwing" develops efficiently with an effortless, driving rhythm - you want to see where Mister Buddwing is going and where he will end up. The city of New York has been used in many films but, here, it has the nightmarish, black-and-white power of noir pictures like "The Naked City" or even one set in London, the fantastic "Night and the City." The city seems mysterious and in certain shots overlooking a bridge or on city streets, even desolate and frightening. Director Delbert Mann ("Marty") and cinematographer Ellsworth Fredericks really capture the intensity and emotional emptiness of a city that could care less if you are amnesiac. A handful of hand-held camera shots (a cliche in this day and age) and the documentary feel of city life, especially when Buddwing has a headache and seems to ready to fall on the pavement, are wonderfully captured. There are exquisitely handled scenes in cafes and hotels that are done with remarkable restraint, again imploring us to find out little clues about Buddwing.

Unfortunately, by the time we find out what is really going on with Buddwing and discover his true identity, we feel cheated. I wouldn't dream of giving it away but it is less than revealing and somehow negates the buildup that we have invested in for almost an hour and a half. It is not a bad finish, but it is an anticlimactic one.

As I have mentioned, "Mister Buddwing" belongs in the tradition of my favorite kind of stories - a man searching for his identity. What is great about such a story, especially one involving an amnesiac, is that the filmmakers can exploit this idea and pursue it in any manner they wish. We learn he may be a music composer and we do know his wife is named Grace, or do we. Those kind of unclear questions and search for identity could've gone in any direction, and by the time we get to a backroom alley of poker with Jean Simmons as a true floozie, we begin to wonder what strange, hypnotic walk we are gazing upon. The movie is terrific and Garner is in fine form, as is Katharine Ross, Suzanne Pleshette and Jean Simmons. But such a strange, fun ride to the dark side could've benefitted from a truly climactic finish instead of the one we are saddled with. See it, but try to forget the ending.