"LOST" RETROSPECT: (5.09) "Namaste"

 

"LOST" RETROSPECT: (5.09) Namaste"

"Namaste" is a term used commonly on the Indian subcontinent that is used as a greeting and a parting valediction between individuals. I suppose that this word might be the proper title for this ninth episode from Season Five from ABC's "LOST". (5.09) "Namaste" served as a crossroad for the series' fifth season. It served as a closure for some of the season's story arcs and a beginning for others.

The episode opened where the sixth episode, (5.06) "316" ended, with former castaways Dr. Jack Shephard, Kate Austen and Hugo "Hurley" Reyes disappearing from Ajira Flight 316 (destination - Guam) and reappearing on the Island. Following their harrowing reappearance, they are spotted by one their former castaways, who had remained on the island, Jin-Soo Kwon. The season's eighth episode, (5.08) "La Fleur", revealed that Jin; along with James "Sawyer" Ford ("Jim La Fleur"), Dr. Juliet Burke, Miles Straume, and Daniel Faraday; had ceased their time skipping and landed in the year 1974. They spent the next three years as members of the Dharma Initiative. When Jin informed Sawyer of Jack, Kate and Hurley's arrival in 1977, Saywer races from the Dharma compound to greet his former castaways.

Sawyer explains to the three newcomers that they had ended up in the 1970s. And in order to remain at the Dharma compound, he lied to the organization's leaders that he was captain of a research vessel, whose crew was searching the wrecked slave ship, the Black Rock. He then arranges for the trio to join the Dharma Initiative as new recruits. Jack becomes a janitor, Kate joins the motor pool, where Juliet works. And Hurley becomes a cook. Sawyer manages to achieve this after Juliet forges their necessary documentation.

Back in the 21st century, pilot Frank Lapidus manages to land the Ajira 316 airliner on the runway constructed by members of the Others, Kate and Sawyer (who were prisoners) back on Season Three, on the Hydra Station island. Along with Frank, Sun-Kwa Kwon and Benjamin Linus (former Others leader), other survivors include a man named Caesar, who assumes leadership of the surviving Ajira passengers and a bounty hunter named Ilana Verdansky, who had been escorting former Oceanic castaway Sayid Jarrah into custody. Ben sets out for the main island to reunite with the Others. Sun decides to join him in order to find Jin. And Frank accompanies them in order to protect Sun from Ben. However, she knocks Ben out, leaving him behind on the Hydra island. Sun and Frank encounter a figure in Christian Shephard's image, who informs them that Jack, Kate and Hurley have time traveled back to 1977. He also informs Sun that Jin is with them.

I found nothing particularly unique about "Namaste". But I must admit that I still found it interesting and solid entertainment. I found the present day sequences featuring Sun, Ben and Frank less interesting. Ben's intention to leave the Hydra island in order to reunite with Richard Alpert and the rest of the Others did not seem very interesting to me. Even Ben's attitude regarding his intention seemed like the logical conclusion. Which is why I found Sun's reaction to him rather over-the-top. One, she did not have insist upon joining him. If she really wanted to leave Hydra island for the main one, she could have made the trip on her own. Instead, she insisted upon joining Ben, before whacking him over the head with a paddle. Many "LOST" fans cheered. I simply rolled my eyes at the ridiculousness of it all and a confirmation of her vindictive nature. When she and Frank later discovered that Jack, Kate, Hurley and Jin were all in 1977, I found the scene . . . well, uninteresting. The only interesting aspect of this story line was that it explained the finale of (3.07) "The Life and Death of Jeremy Bentham" - with the Man in Black (in John Locke's form) looking down at his unconscious form.

The scenes set in 1977 managed to rouse my interest. The interactions between the main characters seemed filled with a great deal of emotions - overt or otherwise. Much of that emotion was centered around James "Sawyer" Ford. Ever since the Season Four episode, (4.09) "The Shape of Things to Come", many "LOST" fans have been pushing him as the series' hero. Sawyer's "hero" status was solidified - as far as many were concerned - in "La Fleur", when he found a way to ensure that he and his fellow castaways would become part of the Dharma Initiative and became romantically involved with Juliet Burke. Within three years, Sawyer became the Dharma Initiative's Head of Security. In a way, I can see why many fans had put Sawyer on a pedestal by mid-Season Five. Yet, I found some of his interactions with the other characters and his own decisions rather questionable. I am not accusing screenwriters Paul Zbyszewski and Brian K. Vaughan of bad writing. On the contrary, I thought they handled Sawyer's role in this episode very well. But I suspect that so many fans were viewing Sawyer through rose-colored glasses that they failed to see the warts behind the heroic image. Not even Jack Shephard during the series' first season was regarded in such a high light.

Many fans anticipated the reunion between Sawyer and his former bed partner, Kate Austen; believing that the latter was over Jack. Mind you, not all fans believed this, but a good number did. The episode's last five to ten minutes featured a moment in which the two exchanged subtle looks. That look would prove to be the beginning of the end of Sawyer's romance with Juliet . . . but in a way he did not anticipate or liked. Even worse, Kate's little moment of flirtation was a return to an old habit of hers - using Sawyer to erase her romantic problems with Jack. Fans marveled at how he and Juliet had arranged for Jack, Kate and Hurley's initiation into the Dharma Initiative. And many cheered at his criticism, near the end of the episode, of Jack's earlier leadership of the Oceanic 815 castaways. I felt impressed by the former and unimpressed by the latter. My recent viewing of this episode led me to realize a few things. One, three years as the "Sheriff of Dharma Land" had allowed Sawyer to develop an ego the size of a basketball. Note some of his criticism directed at Jack:

SAWYER: [Chuckles] I heard once Winston Churchill read a book every night, even during the Blitz. He said it made him think better. It's how I like to run things. I think. I'm sure that doesn't mean that much to you, 'cause back when you were calling the shots, you pretty much just reacted. See, you didn't think, Jack, and as I recall, a lot of people ended up dead.

JACK: I got us off the Island.

SAWYER: But here you are... [sighs] right back where you started. So I'm gonna go back to reading my book, and I'm gonna think, 'cause that's how I saved your ass today. And that's how I'm gonna save Sayid's tomorrow. All you gotta do is go home, get a good night's rest. Let me do what I do.

One, Sawyer had forgotten that not all of Jack's decisions were bad . . . and not all of his decisions were good. He also seemed unaware that his decision to include himself, Miles, Juliet, Jin and Daniel into the Dharma Initiative was a bad idea. And he should have never given Jack, Kate and Hurley the opportunity to become part of the Dharma Initiative. Sawyer did not save Jack, Kate and Hurley's lives. He merely dragged them into his own deception. And his decisions will prove to be bad ones by the end of Season Five. His belief in his own leadership skills proved to be nothing more than a reflection of his skills as a con artist. Like the Oceanic Six, he and his four companions had been living a lie for the past three years . . . a lie that would eventually catch up to them. I also suspect that Sawyer (and Juliet) were responsible for the newcomers' new positions. Sawyer's rant and his arrangement of Jack's new position as a janitor only convinced me that despite his words, his insecurities regarding the spinal surgeon had not abated.

However, Sawyer was not the only one who had made bad decisions. Hurley decided that he wanted the comforts of the Dharma Initiative, instead of the discomforts of the jungle. It was a bad decision on his part. And both Jack and Kate made the mistake of agreeing with Hurley's decision. I could not help but wonder if Juliet had regretted assisting Amy Goodspeed through a difficult birth. The Goodspeeds' new child turned out to be Ethan Rom, a future follower of Ben Linus in 2004. However, I do recall that Juliet never had any issues with Ethan. I believe that Juliet had made the right choice. But . . . I have great difficulty in believing that Ethan was 27 years old in 2004 (the first season), especially since the actor who had portrayed him, William Mapother, was 39 years-old during the series' first season . . . and looked it.

The episode ended with the revelation of Sayid Jarrah's whereabouts. He did not appear on the island with Jack, Hurley and Kate. And he was not seen among the Ajira survivors in 2007. Instead, he also ended up in 1977, discovered by Jin Kwon seconds before they encountered the Dharma Initiative's borderline psychotic head researcher, Stuart Radzinsky. Jin had no choice but to place Sayid under arrest for being a possible Hostile (the Others), the enemies of the Dharma Initiative and longtime island residents. At the end of the episode, Sayid met the 14 year-old version of Benjamin Linus, the man who manipulated him into becoming a hired gun in the latter's war against rival Charles Widmore. This meeting will prove to have grave consequences for the Losties. So much for Sawyer saving Sayid's ass. "Ain't life a bitch?"

Thanks to screenwriters Paul Zbyszewski and Brian K. Vaughan, "Namaste" is a pretty good episode that brought a great deal of closure to the first half of Season Five and initiated the story arcs for the rest of that season and the sixth and final season. The emotional complexities - especially in regard to James "Sawyer" Ford - proved to be very interesting in the 1977 sequences. But I was not that particularly impressed by the 2007 scenes. Despite my disappointment in the latter, I managed to enjoy the episode in the end.

"JANE EYRE" (1943) Review

 

"JANE EYRE" (1943) Review

Many fans of Charlotte Brontë's 1847 novel, "Jane Eyre", are aware that numerous (probably over twenty) television and movie adaptations of it had been made over the past several decades. While perusing the Internet, I was surprised to discover that the opinion of the 1943 adaption seemed to be extremely divided. Fans either regard it as the best adaptation or the worst. There seemed to be no middle ground.

As many know, "JANE EYRE" told the story of young 19th century English orphan who is forced to live at the Yorkshire estate of her widowed aunt-by-marriage, Aunt Reed. After a recent altercation between niece and aunt, the latter sends Jane Eyre to be educated at an all-girls school operated by a tyrannical and religious zealot named Mr. Lowood. Jane spends eight years at the school as a student and two years as a teacher. She eventually leaves Lowood School after she is hired as a governess for Adèle Varens, the French-born ward of a mysterious landowner named Mr. Edward Rochester. Not long after her arrival at Thornfield Hall, the Rochester estate, Jane meets her enigmatic employer. It does not take long before Jane and Rochester's relationship evolve from employee/employer to friends, before it eventually becomes romantic. However, a possible romantic rival for Jane and a secret in Thornfield's attic prove to be major obstacles in the road to romance for the young governess and her employer.

So . . . how does "JANE EYRE" hold up after 71 to 72 years? Actually, I believe it holds up pretty well. I thought director Robert Stevenson and the screenplay he co-wrote with John Houseman, Aldous Huxley, and Henry Koster did a solid job in translating Brontë's novel to the screen. Many critics and movie fans have noted that this adaptation seemed to have convey the novel's Gothic atmosphere a lot stronger than other versions. I supposed one has cinematographer George Barnes, production designer William L. Pereira and set decorator Thomas Little to thank. However, I recently learned it was Orson Welles (who not only served as leading man, but also an uncredited producer) who had convinced Stevenson and his fellow co-producers William Goetz and Kenneth Macgowan to inject more Gothic visuals into the movie. I could not say that René Hubert's costume designs contributed to the movie's Gothic atmosphere. But I was impressed by how Hubert's costumes reflected the movie's early 1840s setting, as shown in the images below:

 

I certainly had no problems with how the movie handled Jane's story through most of the film. From the opening scene in which the leading character found herself harassed by the Reed film to her disrupted wedding to Edward Rochester. I usually find it difficult to endure the Lowood School scenes in other adaptations of Brontë's novels. But I cannot say the same about this adaptation. I really had no problem with it. It could be that I was so fascinated by the performances of Peggy Ann Garner, Elizabeth Taylor and Henry Daniell that I completely forgot that I was watching one of my least favorite sequences in the story. And of course, the best part of "JANE EYRE" remained the growing friendship and romance between the titled character and Rochester. This was especially apparent in two sequences - Rochester's courtship of Blanche Ingram during his house party and Jane's confession of her love for him.

Although I was impressed by how Stevenson and the film's other screenwriters handled Brontë's tale up to Jane and Rochester's disastrous wedding ceremony, I could not say the same about the rest of the film. In fact, it suffered from the same narrative problem that plagued several other adaptations - a weak finale. First of all, this is the only adaptation in which Jane never meets the Rivers siblings - St. John, Diana and Mary. She does meet a Doctor Rivers, who first treated Jane when she was a Lowood student. Instead of seeking refuge with the trio, Jane returns to Gateshead Hall, the home of her dying Aunt Reed. Following her aunt's death, Jane reunites with Rochester. That is it. And I hate to say this, but the entire sequence - between Jane's departure from Thornfield Hall to her return - seemed very rushed and unsatisfying.

I also have another major problem with the movie - its Gothic elements. There were times when these elements served the mysterious aspects of the movie very well. However, a good deal of these "Gothic touches" struck me as heavy handed . . . to the point that they ended up annoying me. This was apparent in Jane's first meeting with Rochester, with so much fog swirling around the pair that at times they seemed almost hidden. The worst aspect of these "Gothic touches" occurred in the scene in which Jane and Rochester confessed their love for one another. The moment the pair sealed their engagement with a kiss, a bolt of lightning came out of the sky and struck a nearby log. I mean . . . come on! Really?

A good number of critics and movie fans did not seem particularly impressed by Joan Fontaine's portrayal of Jane Eyre. I never understood the complaints. I thought she did an excellent job. More importantly, her portrayal of the passionate, yet introverted Jane seemed spot on. What were these critics expecting? An over-the-top performance by Fontaine? Jane Eyre is not an overtly emotional character - at least as an adult. However, I am happy to note that Fontaine certainly had a strong screen chemistry with her leading man, Orson Welles. Many have stated that Welles pretty much dominated the movie. To me, that is like saying every actor who has portrayed Edward Rochester overshadowed the actresses who have portrayed Jane. Personally, I thought Welles' enigmatic and quick-witted portrayal of Rochester complimented Fontaine's more introspective performance rather well. I guess these fans and critics did not want balance . . . just two very theatrical performances.

The other performances in the movie struck me as first-rate. Agnes Moorehead, who was part of Welles' Mercury Theater company before her arrival in Hollywood, portrayed Jane's haughty Aunt Reed. And I must say that she did an excellent job in portraying the character with a not-too-shabby English accent. Henry Daniell was equally impressive as the tyrannical head of Jane's school, Mr. Lowood. But I was really impressed by Margaret O'Brien, who did a remarkable job as Rochester's French ward, Adèle Varens. I would not know an authentic French accent, if I was stuck in the middle of Paris. But I must say that O'Brien's accent was just as good as the other young actresses who portrayed Adèle. And she gave such a charming performance . . . at the age of six.

But O'Brien was not the only child star who gave an excellent performance. Peggy Ann Garner was equally impressive as the young Jane Eyre, who had no qualms about butting heads with the haughty Reed family. Also in the film was a young Elizabeth Taylor, who gave a mesmerizing performance as Jane's doomed young friend, Helen Burns. I was surprised to discover that Hillary Brooke, who portrayed Blanche Ingram, was an American actress. I thought she was very convincing as the charmingly bitchy and very English Blanche. The movie also featured solid performances from Sara Allgood, John Sutton, Edith Barrett and Barbara Everest.

So . . . do I feel that "JANE EYRE" is the best or worst adaptation of Charlotte Brontë's novel? Honestly? I would say neither. Yes, there were times I could barely deal with the movie's over-the-top Gothic atmosphere. And yes, I found the last quarter of the film both weak and rushed. But overall, I would say that it is a pretty good film. And I believe that it still holds up rather well after 82 years.

"INFAMOUS" (2006) Photo Gallery

 

Below is a gallery featuring photos from the 2006 biopic about Truman Capote called, "INFAMOUS". Written and directed by Douglas McGrath, the movie starred Toby Jones, Sandra Bullock and Daniel Craig:

"INFAMOUS" (2006) Photo Gallery

Boston Creme Pie

 

BOSTON CREME PIE

Judging by the name of this famous dessert, one would assume that the Boston Creme Pie was created in Boston, Massachusetts. And one would be right. However, there is a slight confusion over the dessert's origins. According to John F. Mariani's 1999 book, "Encyclopedia of American Food and Drink", the Boston Creme Pie originated during the Early American period and was known as either the "Pudding-Cake Pie"; or when made with a raspberry jelly filling, "Mrs. Washington's Pie".

But the current dessert that features the chocolate topping is known as the Boston Creme Pie. And according to many cookbooks, Armenian-French chef M. Sanzian created the dessert at Boston's famous Parker House Hotel in 1855 or 1856. Like the Pudding-Cake Pie and Mrs. Washington's Pie, the Boston Creme Pie is actually a pudding and cake combination that comprises at least two or three layers of sponge cake filled with vanilla flavored custard or crème pâtissière. In the case of the Boston Creme Pie, the cake is topped with a chocolate glaze called Ganache. The Commonwealth of Massachusetts declared the Boston Creme Pie as its official dessert in 1996.


The following is a recipe for the dish from thehungrymouse.com website:


Boston Creme Pie

Ingredients

Cake
1/2 cup butter (that’s 1 stick), softened on the counter for 20 minutes or so
1 cup sugar
3 egg yolks
1 tsp. vanilla extract
3/4 cup milk
2 cups cake flour
2 tsp. baking powder
pinch of salt

Cream Filling
1/2 cup sugar
4 egg yolks
6 Tbls. flour
1 1/2 cups milk
2 tsp. vanilla extract

Chocolate Frosting
4 oz. semisweet chocolate, chopped
1/2 cup heavy cream
1 Tbls. butter



Preparations

Cake
Preheat your oven to 375 degrees. Spray 2 8-inch round cake pans with oil, then line with circles of parchment paper. Set them aside. Combine the sugar and butter in the bowl of your mixer. Beat them together until well combined. Add in the egg yolks. Beat again until well combined and kind of fluffy. Scrape down the sides of your bowl with a spatula. Add the milk. Combine the flour, baking powder, and salt in a small bowl. Stir them together with a whisk to combine well. Toss the dry mixture into the butter/sugar in the mixing bowl. Mix on medim-high for maybe 20 or 30 seconds to combine, just until the batter comes together.

The batter will be relatively thick and stiff. Give the batter a stir or two with a spatula to be sure that it’s mixed well and no dry ingredients remain in the very bottom of the bowl. Divide the batter evenly between your two prepared cake pans. Smooth it down with a spatula so it fills the whole pan and is relatively even. Bake cake the 2 cakes for 20-23 minutes at 375 degrees.

They are done when they are golden brown on top and feel firm (not jiggly) in the middle when pressed with a finger. When inserted in the center, a toothpick should come out clean. Cool the cakes in the pans for about 10 minutes. Then, gently run a knife around the whole edge to loosen it, and remove each cake from the pan. (Because you lined each pan with parchment paper, this should be easy). Set the cakes on a rack to cool completely. If your cakes wound up a little crusty on the edges, like this, don’t worry. You’re going to trim those crisp edges right off when you assemble your Boston Cream Pie.


Custard
Fill a medium-sized pot with a few inches of water. Set it on the stove over high heat to bring it up to a boil. Then put the sugar and egg yolks in a large heatproof bowl. Whisk together until well combined. Add the flour. Whisk to combine. Pour in the milk. And the vanilla. Whisk to combine. When your pot of water is boiling, drop the heat to low. Set the bowl on top of the pot of water. Whisk it constantly for 5-7 minutes until it starts thicken. Keep whisking until the custard gets very thick. It’s done when it coats the back of a spoon. Give it a taste. It should have a nice custard-y taste, without any hint of raw flour. When it is done, take it off the heat. Cool it on the counter to room temperature, then pop it in the fridge to chill it completely.


Chocolate Frosting
Fill a medium-sized pot with a few inches of water. Set it on the stove over high heat to bring it up to a boil. If you are making the frosting right after the custard, just use the same pot of simmering water. Chop up the chocolate. Put it into a large heatproof bowl. Pour in the cream. When your pot of water is boiling, drop the heat to low. Set the bowl on top of the pot of water. Toss in the butter. The chocolate should start to melt almost immediately. Whisk to combine. Keep whisking until all the chocolate is melted and you have a uniform mixture. Set the chocolate frosting aside to cool. As it cools, it will thicken up. If you put it in the fridge, keep a close eye on it. It can go from nice and thick to solid fudge in no time flat.


Assemble the Dessert

Do not do this until all of your components are completely cool. If you try to put it together when any piece is warm, you will wind up with a slippery, drippy mess.

Start by trimming your cakes. Carefully set them one on top of the other. With a serrated bread knife, cut the edges off. Go slowly and press down on the top of the cake with one hand to keep it from ripping. Should you have an accident with one of the cakes, like this, do not fret. Just use that cake as the bottom layer. The custard filling will help glue the whole thing together once it gets cold in the fridge.

Set one cake on your serving platter, bottom side facing up. Do this so that your custard goes on a flat—not slightly domed—surface. Grab the custard filling from the fridge. It should be nice and thick. Spoon it out onto the cake. Reserve a few spoonfuls of custard for later, to help stick the almonds to the side of the cake. Spread the custard to the edges with a rubber spatula. Put the second cake right on top. Grab your chocolate frosting. Spoon it out onto the top of the cake. Spread it around until the top of the cake is covered. Pop two toothpicks into the cake to hold the layers together for now, until it’s completely chilled. With your finger, brush the leftover custard onto the edges of the cake, so it’s covered in a thin layer.

Note

According to this recipe, the Boston Cream Pie is best served on the day that it is put together. The dessert has three parts - the cake, the custard filling and the chocolate frosting. Following the preparation of all three parts, they need to be completely cooled before the dessert is assembled.

 Favorite Movies Set in 19th Century Britain

"Sense and Sensibility" (1995)

"Jane Eyre" (2011)

"David Copperfield" (1935)

"Far From the Madding Crowd" (2015)

"Topsy-Turvy" (1999)

"Gaslight" (1944)

"Emma" (1996)

"The First Great Train Robbery" (1979)

"Mr. Malcolm's List" (2022)

"TITANIC" (1953) Review

 

"TITANIC" (1953) Review

As many moviegoers know, there have been numerous film and television productions about the maiden voyage and sinking of the R.M.S. Titanic on April 15, 1912. The most famous production happens to be James Cameron's 1997 Oscar winning opus. However, I do wonder if there are any fans who are aware that another Titanic movie managed to strike Oscar gold.

Directed by Jean Negulesco, the 1953 movie "TITANIC" focused on the personal lives of a wealthy American family torn asunder by marital strife, a deep secret and the historic sinking of the Titanic. Family matriarch Mrs. Julia Sturges and her two children, 17-year-old Annette and 10-year-old Norman board the R.M.S. Titanic in Cherbourg, France. Julia hopes to remove her children from the influence of a privileged European lifestyle embraced by her husband Richard and raise them in her hometown of Mackinac, Michigan. Unfortunately, Richard gets wind of their departure and manages to board the Titanic at the last moment by purchasing a steerage ticket from a Basque immigrant and intercept his family. The Sturges family also meet other passengers aboard ship:

*20-year-old Purdue University tennis player Gifford Rogers, who falls for Annette
*the wealthy middle-aged Maude Young (based upon Molly Brown)
*a social-climbing snob named Earl Meeker
*a priest named George S. Healey, who has been defrocked for alcoholism
*American businessman John Jacob Astor IV and his second wife Madeleine

Julia and Richard clash over the future of their children during the voyage. Their conflict is reinforced by Annette's budding romance with college student Gifford Rogers and a dark secret revealed by Julia. But the couple's conflict eventually takes a back seat after the Titanic strikes an iceberg during the last hour of April 14, 1912.

There seemed to be a habit among moviegoers lately to judge historical dramas more on their historical accuracy than on the story. As a history buff, I can understand this penchant. But I am also a fan of fiction - especially historical fiction. And I learned a long time ago that when writing a historical drama, one has to consider the story and the character over historical accuracy. If the latter gets in the way of the story . . . toss it aside. It is apparent that screenwriters Charles Brackett (who also served as producer), Richard L. Breen and Walter Reisch did just that when they created the screenplay for "TITANIC". Any history buff about the famous White Star liner's sinking would be appalled at the amount of historical accuracy in this movie. However, I feel that many lovers of period drama would be more than satisfied with "TITANIC", thanks to a well-written personal story and top-notch direction by Jean Negulesco.

Superficially, "TITANIC" is a melodrama about the disintegration of a late 19th century/early 20th century marriage. The marital discord between Julia and Richard Sturges is filled with personality clashes, class warfare, disappointment and betrayal. And actors Barbara Stanwyck and Clifton Webb did their very best to make the clash of wills between husband and wife fascinating and, in the end, poignant. One of the movie's best scenes featured a confession from one spouse about a past discretion. I am not claiming that the scene was particularly original. But I cannot deny that thanks to stellar performances from Stanwyck and Webb, I believe it was one of the best moments of melodrama I have ever seen on screen . . . period. But their final scene together, during the Titanic's sinking, turned out to be one of the most poignant for me. And by the way, fans of the 1997 movie would not be hard pressed to recognize one of Webb's lines in the film . . . a line that also ended up in Cameron's movie.

"TITANIC" featured other subplots that allowed the supporting cast to shine. Audrey Dalton portrayed Julia and Richard's oldest offspring, the beautiful 17-year-old Annette, who had become enamored of her father's penchant for European high society. Dalton did an excellent job of slowly transforming Annette from the shallow socialite wannabe to the shy and naturally charming young woman who has become more interested in enjoying her youth. And the character's transformation came about from her budding friendship and romance with the gregarious Gifford Rogers. Robert Wagner seemed a far cry from the sophisticated man that both moviegoers and television viewers have come to know. His Gifford is young, friendly and open-hearted. Wagner made it easier for moviegoers to see why Annette fell for him and Julia found him likeable. However, I was not that enthusiastic about his singing. Harper Carter did an excellent job of holding his own against the likes of Stanwyck, Webb and Dalton as the Sturges' son Norman. In fact, I found him very believable as the 10-year-old boy eager to maintain his father's interest without accepting the snobbery that marked Annette's personality. Perhaps he was simply too young.

The movie's screenplay also featured a subplot involving a young priest named George Healey, who dreaded his return to the U.S. and facing his family with the shameful news of his defrocking. Thanks to Richard Basehart's subtle, yet sardonic performance, I found myself feeling sympathetic toward his plight, instead of disgusted by his alcoholism. Thelma Ritter gave her usual top-notch performance as the sarcastic noveau riche Maude Young. Allyn Joslyn was amusing as the social-climbing card shark, Earl Meeker. And Brian Aherne's portrayal of the Titanic's doomed captain, was not only subtle, but he also kept the character from wallowing into some kind of second-rate nobility that usually makes my teeth hurt.

For a movie that did not have James Cameron's advantages of creating the technical effects of the 1997 movie, "TITANIC" proved to be an attractive looking movie. Production manager Joseph C. Behm and his team did a solid job of re-creating life aboard an ocean liner, circa 1912. Behm was also assisted by costume designer Dorothy Jeakins, Don B. Greenwood's art department, Maurice Ransford and Oscar winner Lyle R. Wheeler's art directions, and Stuart A. Reiss' set decorations. Although the movie did not feature an accurate re-creation of the Titanic's sinking, I have to admit that visually, the special effects created by a team led by Ray Kellogg were very impressive, especially for 1953. They were ably assisted Joseph MacDonald's black-and-white photography and Louis R. Loeffler's editing.

Earlier in this review, I pointed out that James Cameron's 1997 film was not the only one about the Titanic that struck Oscar gold. Although "TITANIC" did not win eleven Academy Awards, it was nominated for two Oscars and won a single one - namely a Best Original Screenplay award for Brackett, Breen and Reisch. But despite an award-winning script, a superb cast led by Barbara Stanwyck and Clifton Webb and a first-rate production team, "TITANIC" still could have ended in disaster. But it had the good luck to have an excellent director like Jean Negulesco at the helm.

"CENTENNIAL" (1978-79) Photo Gallery

 

Below are images from "CENTENNIAL", the 1978-79 television miniseries adaptation of James Michner's 1973 novel. Produced by John Wilder, the miniseries starred Robert Conrad, Richard Chamberlain, Gregory Harrison, Christina Raines, William Atherton, Lynn Redgrave and David Janssen:

"CENTENNIAL" (1978-79) Image Gallery