Tag Archives: Tony Curtis

Tony Curtis in Six Bridges to Cross (Joseph Pevney, 1955)

Anyone wanting to understand why Tony Curtis was such a big star might be interested in SIX BRIDGES TO CROSS, where he plays Jerry Florea, a handsome gangster who pulls off a 2.5 million heist, so breezy and charming that he keeps straight-laced cop George Nader on-side in spite of umpteenth convictions. Sal Mineo, in his first film appearance, plays the younger version of Jerry; and it’s hard to choose which actor is the more charismatic or charming. This is the brilliant moment in the film where one transitions into the other. The New York Times, whilst damming Curtis’ performance, ‘Mr. Curtis, of course, shoulders most of the picture.Far from depicting a formidable criminal master mind, the actor’s progressive, bubbling boyishness knocks the biggest hole in a film already full of them. Those who recall his best performance to date, that of the deaf-mute boxer in “Flesh and Fury,” also under Mr. Pevney’s direction, may wonder if he was encouraged or merely allowed,’ nonetheless conceded that, ‘At least Mr. Curtis’ strutting, million-dollar appearance, in a melodrama purporting to abhor crime, drew plenty of appreciative chuckles from yesterday morning’s customers’.’The film also features superb on-location shooting in Boston by the great William Daniels. From the excellent Arrow box-set which includes an illuminating video essay by Jon Towlson on Daniels’ lighting.

José Arroyo

Binge-watching on the Universal Channel

 

 

Does anyone else fend themselves regressing to the comforts of childhood at this time? After a day of marking, I could have re-seen the Clouzot films on MUBI that I love — Le corbeau (1943)and  Qaui des orfèvres (1947) — but I just couldn´t think anymore and found myself subscribing to the Universal channel, where I saw Stanley Donen´s Arabesque (1966), with Sofia Loren and a stiff Gregory Peck. The film´s a bit leaden but charming and as evocative of sixties glamour as anything I´ve seen, Sofia wearing Dior throughout, and Donen filming everything in an imaginative and colourful way, with a pop sensibility one associates with Swinging Sixties. Each shot is playful if not exactly meaningful. A film that doesn´t quite work but that remains a lot of fun.

I also saw Operation Petticoat (Blake Edwards, 1959) which made me understand the whispers around Blake Edward´s sexuality — all those half-naked sailers on the submarine and, despite all the talk, such a subdued look at the nurses –and where Tony Curtis is so good he outshines Cary Grant (yes, it´s possible). I ended the evening with The Black Shield of Falsworth (Rudolph Maté, 1954), where Curtis is not good. You can see he does many of his own stunts but without the grace of movement someone like Lancaster would have brought to them — every move´s an effort for Tony.  but Janet Leigh  is at her most beautiful, Herbert Marshall is recognisable only by his voice but that´s enough, and the whole thing is a lighthearted silly medieval adventure that looks quite good. These are films that were on rotation on tv channels when I was young and I found a certain comfort in the re-visit.

 

José Arroyo

The Esy Morales ‘Jungle Fantasy’ Sequence in Siodmak’s Criss Cross

Steve Thompson (Burt Lancaster) has divorced his wife, Anne (Yvonne De Carlo) but can’t get her out of his head. He tells himself he’s over her but his actions betray his thoughts. He searches their old hangouts and finally finds her, dancing provocatively in the arms of a very young Tony Curtis as he glowers from the sidelines. The number is by Esy Morales. It’s called Jungle Fantasy and it certainly brings up primal emotion. I’ve not seen dancing quite like it, and for me it evokes the LA zoot suit riots of the late 40s. A sublime moment in the film.