Carol Reed

  • Trapeze (1956)

    Trapeze (1956)

    ByChristian Sauvé Movie Review

    (On Cable TV, February 2021) There are a few good reasons to have a look at Trapeze, but almost all of them start with the casting: Burt Lancaster as a crippled trapeze artist, Tony Curtis as an up-and-comer seeking guidance, and the deliciously-named Lola Lollobrigida as (obviously) the woman that comes between them. Probably the next-best reason is the trapeze footage, still impressive today due to the impressive physicality of the performers (some of it without stunt doubles), and the apparent danger of some of the acts. Considering that the story is about the pursuit of the elusive and dangerous triple somersault, visual danger appropriately reflects the stakes at play here. Otherwise, much of Trapeze runs along familiar tracks once you exclude the (rather impressive) Parisian circus aspect of the story: a veteran, an up-and-comer and the love triangle that takes place once a woman comes along. Director Carol Reed does his best in the circus ring, with the rest of the film being along more familiar lines. Still, the Lancaster/Curtis pairing is interesting as a preview to their far better-known Sweet Smell of Success, and Lancaster notches another film in a more interesting filmography than you’d expect from a multi-decade leading man.

  • Odd Man Out (1947)

    Odd Man Out (1947)

    ByChristian Sauvé Movie Review

    (On Cable TV, March 2020) I don’t entirely agree with those who put Odd Man Out as a film noir, but I can see their point—this story of Irish nationalists evading police after a botched robbery, it’s definitely the kind of downbeat thriller that evokes mentions of noir. While the film predates James Mason’s Hollywood success, he was already a bankable star in the United Kingdom by the time the film was produced and that accounts for his self-assured lead performance. Often more dramatic than strictly concerned with genre thrills, Odd Man Out is a solid crime drama particularly well-directed by Carol Reed. Don’t expect stylistic flourishes, though—it’s straightforward and character-centric rather than play games with light and camera angles. The British origins do add something extra for North American audiences. All in all, a solid choice—although noir fans may feel as if the film is a touch too mainstream for them.