Tag: Actors

“Heat” (1995) starring Al Pacino, Robert De Niro, & Val Kilmer

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[repeated line]

Neil McCauley: Don’t let yourself get attached to anything you are not willing to walk out on in 30 seconds flat if you feel the heat around the corner.

This movie (written/dir. by Michael Mann) is considered a neo-noir; it’s slick, stylish, BUT also has plenty of substance. It was filmed in L.A. (which looks esp. beautiful in the night shots, thanks to cinematographer Dante Spinotti). You may have heard that this is the 1st time that Al Pacino and Robert De Niro shared a scene- wow! Rather than dubbing in the gunshots during the pivotal bank robbery/shootout, Mann had microphones placed around the set, so that the audio could be captured live. This added to the impact of the scene- it sounded like no other gunfight onscreen!

Eady: You travel a lot?

Neil McCauley: Yeah.

Eady: Traveling makes you lonely?

Neil McCauley: I’m alone, I am not lonely.

Career thief Neil McCauley (De Niro) and LAPD Lt. Vincent Hanna (Pacino) are BOTH great at their jobs and strong leaders who command respect. However, they are NOT so self-assured when it comes to their personal lives; they are facing loneliness (something that is NOT hard to relate to after surviving quarantine life). Hanna’s marriage w/ his 3rd wife, Justine (Diane Venora), has become strained; Justine’s teen daughter Lauren (Natalie Portman- in a small, yet touching role) is emotionally troubled b/c of her absentee father. McCauley meets an introverted/younger woman, Eady (Amy Brenneman); she works at a bookstore and as a graphic designer. He lets her talk about herself, but doesn’t reveal much about his life; he says he’s a traveling salesman. At first, Brenneman disliked the script and refused her role, saying it was too filled w/ blood with no morality; Mann told her that with that mind set, she would be perfect for Eady.

Vincent Hanna: I gotta hold on to my angst. I preserve it because I need it. It keeps me sharp, on the edge, where I gotta be.

McCauley’s crew includes Chris Sheherlis (Val Kilmer), Michael Cheritto (Tom Sizemore), Trejo (Danny Trejo- who’d spent time at Folsom), Waingro (Kevin Gage- who later spent time in jail), and eventually- Donald Breedan (Dennis Haysbert). Hanna’s crew from Robbery/Homicide Division includes Drucker (Mykelti Williamson), Casals (Wes Studi), and Bosco (Ted Levine). In preparation for their roles, those playing criminals spent time w/ former criminals and their families; those playing cops did the same. Unlike most heist movies, there are domestic scenes here, so we get to know McCauley’s crew. Chris is still in love w/ his wife Charlene (Ashley Judd); his gambling problem and quick temper are the issues that are driving her away. They have a baby son and live in a ranch-style suburban house. Michael has a wife, two young kids, and some savings; he stays in the game (even when things get dangerous) b/c of the thrill. Trejo has a wife who he dotes on. Donald, recently out on parole, thinks he doesn’t deserve his loving/loyal wife; he chafes against his job cleaning up a greasy diner (and disrespect from his boss).

Vincent: So you never wanted a regular type life?

Neil: What the f**k is that? Barbeques and ballgames?

Mann made the movie as tribute to a detective friend of his in Chicago, who tracked/killed a thief (named Neil McCauley), who he had once met under non-violent circumstances. The scene where McCauley and Hanna meet face-to-face has some great dialogue; it was shot at a real restaurant known for its late-night dining. Pacino and De Niro decided NOT to rehearse before they did this scene, so it would seem fresh; Mann agreed to this also. If you like your action films w/ something extra, then check it out.

[1]… Heat is a cinematic banquet of intense imagery and pulse-pounding action. Come hungry.

[2] The cops are similar to the robbers and vice-versa. Perhaps Mann is telling us were all the same. Except in what we do. Every speaking part holds substance in this movie…

[3] It seems one of Michael Mann’s main priorities was to make a film with a dreamlike feel to it, to portray LA as a dusty oil-painting on which complex characters could play out their lives. One of the main themes is the similarity of the career criminal and the street-wise cop. It is fascinating to find yourself really feeling for De Niro’s tragic bank-robber, a man of philosophical merit who realises he’s stuck in a life of crime he doesn’t want to lead. Pacino’s cop is less easy to sympathise with, but he too leads an in-escapable life of guns and crime.

-Excerpts from IMDB reviews

“Humoresque” (1946) starring John Garfield & Joan Crawford

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Sid [to Paul]: You’ll do all right. You have all the characteristics of a successful virtuoso. You’re self-indulgent, self-dedicated, and a hero of all your dreams.

Paul Boray (John Garfield) comes from a working-class background; he and his family live above their humble grocery store in NYC. Paul has been playing the violin since he was 11 y.o. (which his mother supports). Paul’s father has a hint of an European accent; he’s skeptical re: his son’s musical potential. A section of the story is told in flashback; a very young Robert Blake plays Paul. While his older siblings work their retail jobs, as a young adult, Paul lives for his music and wants to become a concert violinist. One of Paul’s classmates at the National Institute of Music, Gina (Joan Chandler- her first role), has strong feelings for him; they have a connection and live in the same neighborhood. Like many young people, Paul is idealistic and feels that talent itself will take him to where he wants to go. Paul has potential, but he doesn’t have the right connections, his best friend/pianist Sid Jeffers (Oscar Levant) explains.

Helen: Bad manners, Mr. Boray, the infallible sign of talent.

At a high society party w/ Sid, Paul meets Helen (Joan Crawford) and Victor (Paul Cavanagh) Wright, the wealthy/influential hosts. Victor (who is older) is perceptive, but also weak man; Helen is strong-minded, yet insecure (and relies on alcohol). Helen becomes Paul’s patroness; she finds him a manager, helps him choose a new suit, and sets up his first public recital. Eventually, Paul embarks on a concert tour and becomes a big success. Paul and Helen also fall in love, but it is a destructive type of love that may risk Paul’s career… and maybe more!

Sid: Tell me, Mrs. Wright, does your husband interfere with your marriage?

“Humoresque” is a must-see for classic film fans, esp. those who like classical music. You hear pieces by Dvorak, Chopin (Etude in G-flat major), Wagner (Tristan and Idolde), Bizet (Carmen), etc. Garfield’s violin “performances” were actually played by two pro violinists standing on either side of him, one moving the bow and one doing the fingering. The music was performed by Isaac Stern; in closeups of the hands alone playing the violin, those are his hands. Levant did all his own piano playing. The screenplay (written by Clifford Odets and Zachary Gold) has great dialogue (w/ memorable lines); the movie is based on a short story by Fanny Hurst.

Helen: I spend my life doing penance for things I never should have done in the first place.

Garfield (then 33), a Method actor, tried to get an emotional bond w/ the character Crawford (42 y.o.) played by looking deeply in her eyes. This unnerved Crawford, who told director Joe Negulesco: “Tell him to stop looking at me!” LOL, but they have some great onscreen chemistry! Garfield had just come off filming The Postman Always Rings Twice (his most well-known role). While working on this movie, Crawford won the Best Actress Oscar for Mildred Pierce. There is some gorgeous B&W photography here, as well as some creatively framed shots. After sparring w/ Paul for the first time, Helen goes to the bar in the next room to make herself a drink; then we see Paul framed as if he’s inside her brandy glass. Looking back, we realize that Paul also became her addiction. Check this film out- you won’t regret it!

[1] As Helen, Joan Crawford gives her greatest performance and she should have been nominated for Best Actress that year. John Garfield is also at top of his form and he certainly is a good match for Miss Crawford. 

[2] A from rags to riches tale with an extra something. The extra something here is Clifford Odetts, the language is as pungent as its pace. The truth in John Garfield’s face rises everything several notches but, perhaps, the biggest surprise… is Joan Crawford’s performance. …she’s rounded and brilliant, torn between who she is and who she would like to be.

[3] ]This film is an outstanding example of the “noir” qualities which were a hallmark of the 30’s to the early 50’s – from the earlier stages of talking pictures, through the depression and post-WW II years. Joan Crawford was one of the two best (along with Bette Davis) at portraying this type of cold, possessive, and thoroughly selfish, powerful female presence.

-Excerpts from IMDB reviews

“The Godfather: Part II” (1974) starring Al Pacino & Robert De Niro

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[Don Cicci is threatening to kill young Vito]

Signora Andolini: But Vito is only nine. And dumb-witted. The child cannot harm you.

The early buzz on The Godfather (1972) was so positive that a sequel was planned before filming ended. Francis Ford Coppola re-wrote the entire script over a weekend b/c Al Pacino said he didn’t like the original and wouldn’t do the film. Later, he admitted to Coppola that he hadn’t actually disliked the first script all that much, but knew it could be better. Pacino was paid $500,000 plus a 10% share of the profits; he’d earned only $25,000 for the first film. Since Coppola had such a difficult time directing The Godfather, he asked to pick a different director for the sequel (and take the title of producer for himself). He chose Martin Scorsese, but the film executives rejected the idea; Coppola agreed to direct again and was given a lot of creative freedom.

Only the scenes about the young Vito Corleone (Robert De Niro) have any basis in Mario Puzo’s book. The story re: Michael (Al Pacino) and family in Las Vegas is unique to the film. De Niro (just 30 y.o.) had screen tested for Sonny; Coppola was so impressed that he called him back again to audition for Vito. De Niro (who is 25% Italian) lived in Sicily for 3 mos. and studied the Sicilian language for 4 mos. – wow! This was the first sequel to receive 5 Academy Award noms for acting: Talia Shire (Best Actress in a Suporting Role), Lee Strasberg (Best Actor in a Supporting Role), Michael V. Gazzo (Best Actor in a Supporting Role) and Pacino (Best Actor); De Niro took home the Oscar for Best Actor in a Supporting Role.

Sen. Geary: I despise your masquerade, the dishonest way you pose yourself. You and your whole f*****g family.

Michael: We’re both part of the same hypocrisy, senator, but never think it applies to my family.

The communion party here is a stark contrast to Connie’s wedding in Part I; it is out on Lake Tahoe (and for show/publicity), lacks culture (Frank Pentangeli laments that there is no traditional Italian food/songs), and (above all) seems emotionally cold. Sen. Geary (G.D. Spradlin) intentionally mispronounces “Corleone.” There is the awkward photoshoot w/ the donation check Michael gave to the local university. Before he died, Vito admitted to Michael that he hoped he’d a “big shot” who “pulled the strings” (like a governor or senator). We see Michael rebuffing the demands of the (openly racist) Sen. Geary, and making demands of his own. He is seeking respectability (still) and also trying to expand his empire to Cuba (w/ the help of Hyman Roth, played by renown acting teacher Lee Strasberg). Pacino requested that Strasberg take on this role, as he admired the man’s talent so much!

[during the play ‘Senza Mamma’]

Genco Abbandando: Vito, how do you like my little angel? Isn’t she beautiful?

Vito Corleone: She’s very beautiful. To you, she’s beautiful. For me, there’s only my wife and son.

In flashback, we see the life of young Vito Andolini; his father was killed for insulting a powerful man, Don Cicci. Soon after, his older brother (in hiding) was killed. When his mother (boldly) appealed to Don Cicci, she was shot/killed also. Vito was hidden by some (brave) neighbors and travelled alone to Ellis Island. The clerk thinks that Vito’s surname is the name of his hometown (Corleone). Then the boy is put into quarantine for several weeks in a tiny room from where he can see the Statue of Liberty. Wow, what an impactful series of scenes (w/o much dialogue)!

Michael Corleone: My father taught me many things here – he taught me in this room. He taught me: keep your friends close, but your enemies closer.

As one astute reviewer noted: “The Godfather Part II is not really a movie about the mafia, it is a movie about a man’s life long struggle.” While Vito’s empire was built on respect, Michael’s empire is built on fear. Look at the way Michael treats his own family- yikes! He doesn’t even acknowledge the fiance of his younger sister Connie (who he compares to a “whore”). Connie (Talia Shire) has lived overseas, trying to escape issues at home; she hasn’t spent much time w/ her kids (which concerns Mama). As for older brother Fredo (John Cazale), he’s still handling the hotel/casino end of the business, but wants to do more. His blonde/buxom wife gets drunk and flirts openly w/ other men. Michael is embarrassed by her behavior; Fredo is emasculated as he can’t control his wife (w/o intervention from bodyguards). There is an (obvious) distance between Michael and his adopted older brother/lawyer, Tom Hagen (Robert Duvall), who is no longer privy to certain aspects of the biz. Kay (Diane Keaton) is still around, BUT we can sense the tension in the marriage; Michael had promised her that the biz would be “legitimate” several years ago. Then there is the audacious shooting in their bedroom; hitmen were able to come onto the estate w/o being noticed!

Vito Corleone: I make him an offer he don’ refuse. Don’ worry.

In 1920, Vito is already married w/ a baby son (Sonny) and delivering groceries in Little Italy; he is a quiet and observant young man. His best friend Genco (Frank Sivero) takes him to a show to see the actress he has a crush on. They see a flashily-dressed local man, Don Fanucci (Gaston Moschin), threatening the actress and her father backstage w/ a knife; Genco said they need to get out of there. It turns out that Don Fanucci is pushing around local businessmen; Vito loses his job b/c his boss (who is like a father to him) is forced to hire the don’s nephew. Vito handles this disappointment well, not even taking the box of food offered to him. We sense that somehow he will find a way to provide for this family. Enter Clemenza (a very young Bruno Kirby- best known for When Harry Met Sally), who is a petty criminal who asks Vito for help. Vito seizes the opportunity, hiding a bedsheet folded up w/ handguns in his apt.

This is NOT your typical sequel; it’s a mix of a sequel and prequel (as many viewers have commented). The two stories have distinct looks, as they take place in different time periods (mainly the early 1920s and late 1950s), and b/c of their different tones. Though Michael’s world is much bigger in scope than young Vito’s, it lacks the warmth of a happy home/family and close friendships/connections. Michael has distanced himself so far from his Italian/immigrant roots that he no longer recognizes the values of his father’s generation. Is Michael the villain and Vito the hero (some viewers have wondered)? De Niro (youthful/slim/handsome) knows how to play subtlety; he just becomes the character! You will even see a few gestures that Brando used, but they come off as natural.

[1] Al Pacino’s performance is quiet and solemn… He is cold and ruthless, with a whole contrast from the idealistic innocent war hero we initially met at the beginning of the first film…

De Niro’s rise, from an orphan child by a family feud back in Italy to a hood in New York and his position as a respected Don, provides a welcome break from Pacino’s relentless attitude…

[2] Al Pacino is the standout in the ensemble cast and its amazing how his eyes have changed from the first part. They are now cold , ruthless and unemotional and betray the price which Michael Corleone has paid for power.

[3] Without spoiling, I will simply say the Robert De Niro as the young Vito is the best acting performance of all time, a role for which he won a richly deserved Oscar.

[4] Nino Rota’s musical score plays an even greater role in this equal but different successor than it did in the predecessor. Yearning, lamenting, stimulating bygone ages, see how infectiously Nino Rota’s music affects our sentiments for the savage events on screen. It is the pulse of the films.

-Excerpts from IMDB reviews

“The Last of the Mohicans” – Director’s Definitive Cut (1992) starring Daniel Day-Lewis

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British Officer: You call yourself a patriot, and loyal subject to the Crown?

Hawkeye: I do not call myself subject to much at all.

In what is now upstate NY in 1757, the last members of a Native American tribe, the Mohicans- Uncas (Eric Schweig), his father Chingachgook (Russel Means- an activist in his first movie) and his adopted white brother Hawkeye AKA Nathaniel Poe (Daniel Day-Lewis)- live in peace alongside British colonists. They hunt a deer and bring it to the (log-cabin) home of their friends- the Cameron family. The two daughters of a British colonel named Munro (Maurice Roeves)- Cora (Madeleine Stowe) and Alice (Jodhi May- at just 16 y.o.)- travel from London to visit their father. In Boston, they’re met by their friend, Major Duncan Heyward (Steve Waddinton), who wants to marry Cora. They didn’t realize that it this was a dangerous time to come to this region, b/c their father’s letters were intercepted. When Cora and Alice are kidnapped by Col. Munro’s traitorous scout, Magua (Wes Studi- a scene-stealer), Hawkeye and Uncas go to rescue them in the crossfire of the French and Indian War.

Maj. Duncan Heyward: I thought all our colonial scouts were in the militia. The militia is fighting the French in the north.

Hawkeye: I ain’t your scout. And we sure ain’t no damn militia.

The screenplay was written by Michael Mann (who also directed) and Christopher Crowe; it was adapted in part from The Last of the Mohicans: A Narrative of 1757 (1826), a novel by James Fenimore Cooper, as well as the 1936 film adaptation The Last of the Mohicans. DDL (who is a Method actor) lived in the forests (North Carolina- where this film was shot) where his character might have lived, hunting and fishing for several months. The shoot employed more than 900 Native Americans from all over the US, mostly from the Cherokee tribes. Schweig (just 25 y.o.) is of Inuit and German heritage from Canada. Means (then age 55) was chosen my Mann for his role, though not a professional actor! He was of Ogala/Lakota Sioux heritage and raised on the Pine Ridge Indian Reservation in South Dakota.

Duncan: You there, Scout! We must rest soon, the women are tired.

Magua: No, two leagues, better water. We stop there.

Duncan: No, we’ll stop in the glade just ahead. When the ladies are rested, we will proceed. Do you understand?

Magua: [speaking Huron] Magua understands that the white man is a dog to his women. When they are tired, he puts down his tomahawk to feed their laziness.

Duncan: Excuse me, what did you say?

Magua: Magua say… he understand the English very well.

Magua (who is a compelling villian w/ an interesting backstory) explains to Gen. Montcalm (Patrice Chéreau) that his village was burned and children killed by English soldiers. He was taken a slave by a Mohawk warrior who fought for Col. Munro (Grey Hair). Magua’s wife believed he was dead, so she became the the wife of another man. To gain his freedom, Magua became “blood brothers” w/ the Mohawk, though he “stayed Huron in his heart.” He believes his “heart will be whole again when the Grey Hair and his seed are dead.”

Cora: l don’t know what to say, Duncan. l truly wish they did, but my feelings don’t – don’t go beyond friendship. Don’t you see?

Duncan: Respect and friendship. lsn’t that a reasonable basis for a man and a woman to be married? And all else may grow in time?

Cora: Some say that’s the way of it.

On my recent re-watch (I hadn’t seen this since H.S. ELA class), I noticed the (quiet) feminism of Cora. She (gently) refuses to marry Duncan b/c she doesn’t love him; she is protective of the (more fragile) Alice (even talking a pistol from a dead soldier for protection); she helps in the infirmary at the fort; and stands up for Hawkeye (before he is imprisoned for “sedition”). Also, you have to admit that Stow and DDL look great together and have sizzling chemistry! One of the best things about this movie is its music, incl. the love theme (which was inspired by a then-modern Irish song that Mann’s wife liked).

Cora Munro: Why were those people living in this defenseless place?

Hawkeye: After seven years indentured service in Virginia, they headed out here ’cause the frontier’s the only land available to poor people. Out here, they’re beholden to none. Not living by another’s leave.

Though there is the romance between Cora and Hawkeye, this movie is also bring to mind the ideals of Romanticism, where man’s most spiritual attribute was his imagination, nature was imbued w/ the divine, and the best life was stepping to one’s personal drummer. While Duncan stands for British imperialism (the old world), Hawkeye represents American individualism (the new world). Cora admits to Hawkeye that this frontier is very “stirring” to her, perhaps revealing that she’s ready for something new in her life (love).

[1] The love story I liked better was the one played in the background, an story that is absent, yet strongly felt throughout the movie. I am referring to the love story between Eric Schweig’s character, Uncas and Alice Munro, played by Jodhi May. It is the subtleness and the overtone-nature of the love that builds in us a sense of involvement.

Wes Studi is probably the fiercest villain I have seen on screen. His mere presence builds an acute level of intimidation. The character portrayal is flawless, and the casting done is excellent.

[2] “The Last of the Mohicans” was one of the most popular and acclaimed films of 1992. Its vision of early America, as it was during the French and Indian War, is captured in its utter brutality and beauty, complete with the many driving ambitions and clashing cultures of everyone involved.

This movie has a bit of everything, including action, romance, war, and passionate drama.

[3] Yes, there are many battle scenes, great reenactment of the scenery of the novel, and villains in all camps that provide the stormy progress of the novel. But it is in the quiet moments where Chingachgook speaks about the Great Spirit, the sanctity of nature, and his waiting to join the Great Council in the sky as the last of the Mohicans that the film’s power is best communicated. The acting is very fine and the cinematography is splendid.

-Excerpts from IMDB reviews

“Ball of Fire” (1941) starring Barbara Stanwyck & Gary Cooper

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Opening credits prologue: Once upon a time – in 1941 to be exact – there lived in a great, tall forest – called New York – eight men who were writing an encyclopedia. They were so wise they knew everything: the depth of the oceans, and what makes a glowworm glow, and what tune Nero fiddles while Rome was burning. But there was one thing about which they knew very little – as you will see…

I saw this movie yesterday (July 16th)- Barbara Stanwyck’s b-day. A clever/sexy/wise-cracking nightclub singer, Katherine “Sugarpuss” O’Shea (Stanwyck- who got an Oscar nod), needs to be kept on ice b/c her mobster bf Joe Lilac (Dana Andrews- slick and sharply-dressed) is suspected of murder and her testimony could get him the electric chair. A naive/tall/handsome professor, Bertram Potts (Gary Cooper- almost 40 and fabulous), meets Sugarpuss while researching an article on modern slang; in rom com fashion, their two worlds collide. When she hides out with Potts (and his 7 fellow nerdy profs), everyone learns something new! This is included among the AFI’s list of the Top 100 Funniest American Movies.

Potts: What’re you gonna do?

Sugarpuss: I’m going to show you what yum-yum is. Here’s yum. [kisses him] Here’s the other yum. [kisses him again] And here’s yum-yum. [gives a long kiss that knocks him backwards onto a chair]

To pick up slang for their script, screenwriters Billy Wilder and Charles Brackett visited the drugstore across the street from Hollywood High School, a burlesque house, and the Hollywood Park racetrack. When Cooper is taking notes of the newsboy’s slang, the marquee on the theater across the street advertises Snow White and the Seven Dwarfs (1937), an inside joke that refers to the script’s inspiration. There is even a promo photo showing the actors sitting in front of a Disney poster, each one in front of his corresponding dwarf: S.Z. Sakall – Dopey; Leonid Kinskey – Sneezy; Richard Haydn – Bashful; Henry Travers – Sleepy; Aubrey Mather – Happy; Tully Marshall – Grumpy, and Oskar Homolka – Doc. Lucille Ball wanted to play Sugarpuss, as she thought it was the kind of role that would win her an Oscar. She fought for the role and was eventually hired, but once producer Samuel Goldwyn found out that Stanwyck (recommended by Cooper) was available, he gave her the part instead. Andrews based his character on notorious gangster Bugsy Siegel, who owned the Formosa (a club across the street from Goldwyn Studios). Andrews used to go there after work; he had the suits, hats, and spats down pat.

Miss Bragg: That is the kind of woman that makes whole civilizations topple!

One of Gene Krupa’s four trumpet players was Roy Eldridge, the only Black man in the band (briefly seen in the film). To avoid offending white audiences in the Jim Crow South, the studio and director Howard Hawks came up w/ a plan. The reels of a movie were shown using two alternating projectors. Sixteen mins. into the film, Stanwyck comes on, sings “Drum Boogie” (Martha Tilton provided the voice) w/ the band, and Eldridge stands to perform his trumpet solo. When the song is over, Stanwyck leaves the stage and the first reel ends. As the next reel begins, she returns for an encore, the band is still in place and the audience is still applauding; however, Eldridge has been removed from the band. By simply switching projectors before Stanwyck’s first entry, a projectionist could “edit out” Eldridge.

Sugarpuss: [about Potts] Yes, I love him. I love those hick shirts he wears with the boiled cuffs and the way he always has his vest buttoned wrong. Looks like a giraffe, and I love him. I love him because he’s the kind of a guy that gets drunk on a glass of buttermilk, and I love the way he blushes right up over his ears. Love him because he doesn’t know how to kiss, the jerk!

After surviving quarantine life, all of us know about being house-bound, lonely, and out of touch w/ the world (though we aren’t working on a set of encyclopedias)! It’s obvious that the the (also nerdy) Miss Totten has a crush on Potts; when she comes by for a meeting re: financing their work, the other profs urge him to be nice to her. In just a few days, Potts wins over Sugarpuss by being kind, thoughtful, and respectful (traits that her bf doesn’t possess). She teaches the profs re: current songs and how to dance the cha-cha- it’s sweet and funny. Check this movie out if you want a laugh!

[1] A very funny, sprightly film, fast-paced and full of wonderful performances. Stanwyck is glowingly wonderful, but I still can’t get over Cooper’s wonderful characterization of a supremely attractive total geek. If that sounds like a contradiction in terms, see the movie and you’ll realize it’s true.

[2] I really liked the way that every one of the nerdy professors is tempted to correct every mistake made by the others. But the gags throughout the movie are really something. Hilarious.

[3] “Ball of Fire” shows pre-Pearl Harbor comedic Hollywood at its zenith.

[4] The expressions of the day are dated and humorous and there are so many you can’t count them all. Some are stupid; some are hilarious… which is what you get with most comedies anyway. Not every line hits the mark, but a lot do in this one.

-Excerpts from IMDB reviews