IT’S that time of year again—when, if ever, a critic is allowed to express his personal preferences. During the course of the year he tries to be objective in his reviews, but personality, being what it is, is bound to creep into discussions. At year’s end, however, the critic selects his ten best—those films he liked best of the whole crop without any thought of being objective. In looking over the 1953 list, I realize that there are many more than ten good movies—so my preferences have to be more personal than ever. Without further ado, these, more or less in the order of preference, were for me the bright spots of the year:
Shane: In telling an upbeat story that insists that man must stand up and fight for what he believes, George Stevens got fine performances out of Alan Ladd and the others in this good cast and used the magnificent Grand Tetons scenery to make a western that stands with the best of all time.
Julius Caesar: Under the direction of Joseph Mankiewicz, a superlative cast headed by James Mason, John Gielgud and Marion Brando reminded us again of the enduring timeliness of Shakespeare’s play; handsomely filmed in black and white, providing a treat for both eyes and ears.
The Conquest of Everest: An inspirational and first-rate documentary with visuals made on the famous expedition last spring and a commentary written by Louis MacNeice which could well be a model for future film narrations.
From Here to Eternity: James Jones’ lengthy and sentimentally realistic novel about army life compressed into a stirring film in which Fred Zinneman’s direction of Burt Lancaster, Montgomery Cliff, Frank Sinatra and others resulted in memorable characterizations.
Roman Holiday: A delightful comedy with serious undertones, beautifully filmed in Rome where Gregory Peck, as an American correspondent, and lovely Audrey Hepburn, as a reception-weary princess, cavort before returning to their responsibilities.
A Queen Is Crowned: A legitimately chauvinistic documentary, shown in record time after the coronation of Elizabeth II; a happy combination of fanfare and dignity that well illustrates why the English are in love with their new Queen and why Americans are almost as enthusiastic.
Little Boy Lost: Although Bing Crosby was not entirely at ease in this demanding role of a widower who searches for his small son mainly out of resentment against his wife’s death, George Seaton’s well-written script and good direction of a largely French cast (little Christian Fourcade, Gabrielle Dorziat and .others) make this a stirring movie.
Stalag 17: Although retaining much of the comedy in this bawdy stage play about American POWs in a German prison camp, Producer-director Billy Wilder turned it into a strong indictment of man’s inhumanity toward man, even Americans’ thoughtless cruelty toward their fellow prisoners; and William Holden gave an excellent performance as the misjudged soldier who was himself no model of virtue.
The Robe: The first example of CinemaScope deserved all the applause it got for the new medium in spite of the fact that the movie itself was more successful as a spectacular pageant than as a penetrating study of early Christians.
Call Me Madam: My vote for the best musical of the year gave us Ethel Merman, Donald O’Connor and several others in the good cast at their elegant rowdiest; the Berlin music and Lindsay-Crouse play together combined to produce a rare phenomenon, a production that really is better in the movies than it was on the stage. A close runner-up, however, for best musical was “The Band Wagon” with Fred Astaire, a lively score and a satirical ballet that should put Mickey Spillane in his place for all time.
So stand the ten. The list is not the final word. Without even half an argument I could add “Moulin Rouge” for its wonderful color, “Lili” for its great charm, “Little Fugitive” for its documentary realism on a trip to Coney Island with a little boy, “Gilbert and Sullivan” for its gaiety and spirit in a musical biography, “The Beggar’s Opera” for its handsome sets and gusto in capturing the feel of John Gay’s play, “The Living Desert” for its remarkable photography of animals and places, and—you complete the list yourself, because everyone will have his own favorites. All we ask now is that 1954 does as well or better.
