…it feels as if it were made yesterday. Not a moment of “The Manchurian Candidate” lacks edge and tension and a cynical spin. And what’s even more surprising is how the film now plays as a political comedy, as well as a thriller.
I love this movie & find it disturbing. It’s a thriller but at times it even seems a satire.
Sinatra is so great here, you hardly notice how good Laurence Harvey is.
#TCMParty (selected tweets)
I keep telling you not to think! You’re very, very good at a great many things, but thinking, hon’, just simply isn’t one of them. -Mrs. Iselin explains to her husband
There is something timeless, yet also eerily timely about this classic film (in Trump’s America). Though it was released in 1962, it is set in 1952 in New York and DC; the use of black and white makes it look older. I think the novelist (Richard Condon) was influenced by Hamlet; note Sgt. Raymond Shaw’s (Laurence Harvey) deep hatred for his stepfather, Senator John Iselin (James Greogory), who married his domineering mother, Eleanor Shaw Iselin (Angela Lansbury). We are NOT told anything re: Raymond’s birth father; I imagine that he was a wealthy/intelligent/influential man. In the youthful romance of Raymond and Jocelyn Jordan (Leslie Parrish), there is an echo of the feud between noble families as in Romeo & Juliet.
Janet (Psycho) Leigh plays a shady, Robert Walker-like femme fatale whose cryptic language may or may not indicate she’s a member of the Communist Ring… The most celebrated (and widely discussed) meet-cute in film history occurs aboard a train, as Janet Leigh and Sinatra whisper sweet-somethings in the most roundabout, I’ve-never-heard-people-talk-like-this way imaginable.
-Stanford Arts Review
Women are (in several scenes) depicted as capable, smart, and active agents in their romantic lives. Obviously, Mrs. Iselin is the power behind her loud-mouthed/dim-witted husband. A young Josie comes to Raymond’s rescue after he’s bitten by a snake. Rosie (Janet Leigh) approaches Maj. Bennett Marco (Frank Sinatra) during their train ride, shows him that she’s VERY interested, then tells him her address and phone number.
It’s a terrible thing to hate your mother. But I didn’t always hate her. When I was a child, I only kind of disliked her. -Raymond explains to Bennett Marco
This is the type of film that you MUST pay attention to, or you’ll miss something! It showcases Sinatra’s acting range; many critics/classic movie fans consider this performance to be the best of his career. The Manchurian Candidate proves us just how scary Lansbury can be, if the script calls for it; I wished there was more of her performance. The way that she controlled Raymond’s life has contributed to how his life is like at that start of the story: humorless, friendless, and loveless. He attempts to get away by taking a job w/ a newspaper editor he admires, BUT alas, his life is NOT his own.
There are people who think of Johnny as a clown and a buffoon, but I do not. I despise John Iselin and everything that Iselinism has come to stand for. I think, if John Iselin were a paid Soviet agent, he could not do more to harm this country than he’s doing now. -Senator Jordan says to Mrs. Iselin
Little details add to the richness of the story. There is a scene where an African-American soldier is having a nightmare/flashback (VERY similar to that of Marco), BUT we see that the ladies in the tea party are African-American. That’s b/c it’s happening w/in the context of his life, NOT that of a white man. There are two supporting East Asian characters, including Dr. Yen Lo (Khigh Dhiegh) and Korean translator-turned-cook, Chunjin (Henry Silva- of Puerto Rican heritage). In one exciting scene, Marco and Chunjin fight using karate.
NOTE: This review contains MILD SPOILERS for the latest season of the streaming comedy series.
Back in my NYC days, I used to hang out often w/ Bangladeshi immigrants (mainly grad students) and Bangladeshi-Americans (singles and couples aged 20 to 40). One young woman my age (raised in a Queens middle-class family) told me that her younger sister was attending college in Japan. Now, this is quite unusual for a female from an immigrant/Muslim/South Asian background. She went to Japan at age 18; she was VERY familiar w/ Japanese culture and nealry fluent in the language, thanks mainly to her best friend/neighbor.
As a comedian, I can talk about anything, as long as I make it funny. So it’s pretty cool if I can get people thinking about immigration or feminism or the food industry at my stand- up shows. -Aziz Ansari
In the second season of Master of None, you’ll find influences from classic Italian cinema, which Aziz Ansari (now 32 y.o.) greatly admires. Some disappointed viewers asked: “Why doesn’t he show India?” or “Why doesn’t he discuss his Indian-ness more?” or something to that regard. The actor/writer/producer is of South Indian/Muslim heritage, BUT was raised in Columbia, South Carolina. I hate to break it to you detractors, BUT one individual can’t show you ALL the sides of being South Asian, Muslim, and/or millennial in the US. (FYI: I know SOME who prefer the term “brown,” BUT I’m not a big fan of that word.) I’m VERY glad (proud even) that Ansari has achieved such a high profile at such a young age; it’s not like he had (conventional) good looks, height, or connections to get him where he is now. Like MANY other desis, he trained (NYU; The Upright Citizens’ Brigade) for several years and worked hard for his success.
 Master of None does not seize the easy way out which lies ahead when it comes to comic relief, cliché plot twists or predictable character development. No, it truly touched me with its ability to pay intense attention to detail.
 The second season is one of the most creative pieces I have seen for a long time. The smooth conversational style and the imaginative expressions relating to daily lives makes it easy to watch.
 I love shows with this kind of humor… It doesn’t try too hard to be funny, it just is. The characters are like my own funny, silly friends! It’s also so refreshing to see a show with a main character being a POC!
 Full disclosure- I’m not only brown, but Tamil, just like Aziz/ Dev, and actually was born in Chennai, so I may be a TAD biased…
…I have never written an online review- ever- but I felt I had to because I have never seen anything like this. Master of None just unassumingly starts like any other modern comedy (with a nice bang!) , but before you know it you are smiling, laughing, and all warm and fuzzy, all the while watching the characters in the show discuss and experience seemingly serious issues like racism, sexism, and modern social life. I think the beautiful thing about this show is that it doesn’t hit you over the head with messages or even try that hard. It’s just funny. The characters are just funny. It’s just natural and real.
-Various IMDB comments (re: S2)
Food is central to this season; the story picks up w/ Dev (Ansari) in small-town Italy making pasta. In Modena, Dev trains with a family, incl. Francesca (Alessandra Mastronardi), w/ whom he has great chemistry, BUT Dev is single and Francesca has a boyfriend, Pino. In E1, Dev meets a cute British woman traveling alone on his birthday, BUT loses his phone to a thief, so is unable to contact her.
Dev’s BFF shows up in E2; Arnold (Eric Wareheim) is going to the wedding of an ex-girlfriend in the lovely countryside. The buddies chat re: dating (incl. a new app Arnold is enthralled w/), eat delicious food, and even get stuck in a VERY narrow alley w/ their rental car. Arnold convinces Dev to go to the wedding, gets angry and emotional, BUT it all works out in the end.
Dev returns home to NYC and we get reintroduced to his (hilarious) father, Ramesh (Shoukath Ansari- Aziz’s father). In the much-discussed E3, his dad and mom (Nisha Ansari- Aziz’s mother) tell Dev that he needs to pretend to be a pious Muslim while an uncle and aunt are visiting. Dev’s love of food clashes w/ the religion he eschews. Dev introduces his younger cousin (played by Ansari’s college-aged cousin, Haris) to pork and they end up going to a famous BBQ festival. What I esp. liked about this ep was that the religious elders were NOT one-dimensional. Sure, they planned to go to Mecca, BUT they were also big basketball fans. Dev (finally) read the Koran that his mom has given him when he went away from home! This ep was co-written by Ansari’s younger brother, Aniz.
…“Religion” took me away from the Islam I see on TV and back to the Islam I’ve lived my whole life. The episode opens on a mother warning her son to abstain from finishing the bacon he’s holding: “Bacon is pork. We are Muslim. We are not allowed to eat pork,” she warns, adding, “That is our religion.” I can’t tell you how many times I heard this exact same phrase growing up. Pop-Tarts, Jell-O, gummy bears, marshmallows, almost anything at a Korean or Italian restaurant…
-Aymann Ismail (Slate)
 Aziz presents us an episode so unique and incredible, yet barely involves him and his co-stars. It explores in a fantastic and diverse way the city of NYC through perspectives that we don’t take the time to appreciate and understand. The creative use of silence during the deaf portion of the episode was absolutely incredible and has such a powerful meaning.
 This was an especially excellent episode, I really loved the way it showed the views of different characters, really made you empathize with them. I really loved the minimalist approach, where you guys let the situations speak for themselves and did not overdo it at all. Achieved levels of empathy I have not seen in many other TV shows/movies.
-IMDB comments (re: S2, E6)
E6 is titled (like the 2008 film)- New York, I Love You. The film Death Castle is based on a rejected script written by Nicolas Cage, who also played the imaginary lead role. This is Ansari’s love letter to working-class immigrants and POCs (incl. a young deaf woman). If you loved this ep, check out the HBO film Everyday People.
E8 is probably the crowning jewel of this season; it features a Hollywood titan (Angela Bassett) and a prolific comic/character actress (Kym Whitley). Much of Denise’s coming out story came from actress Lena Waithe’s real life; she co-wrote this ep w/ Ansari. Do the Right Thing (1989) is the Spike Lee movie that Dev, Denise, and Nikki are watching during Thanksgiving 2016. It features the scene where police kill Radio Raheem, paralleling their dinner conversation about Sandra Bland and Sureshbhai Patel.
…even though Dev is a adult in his late 20s, this feels more or less like a high school girl next door crush. She is sweet, charming, beautiful and you guys have awesome chemistry together and you enjoy each others company, BUT… she is NOT available. -A viewer’s thoughts on Dev’s relationship w/ Francesca (the main love interest in S2)
The ladies Dev dates (thanks to a Tindr-like app) in E4 (First Date) are ALL different/interesting/unique! They include gorgeous Condola Rashad (daughter of Ahmad and Phylicia), quirky ramen blogger Stephanie (VA-raised comic Aparna Nancherla), and adorable/straight-laced lawyer, Priya (Tiya Sircar). These are ALL women of color who are coming up in Hollywood- VERY cool to see. Check out this show for yourself ASAP!
 The writing is a bit too well-structured, almost like clockwork, the characters are a bit too symbolic and easy to categorise. The comic relief kicks in just on schedule. The psychological diagnosis is too precise. And yet, this is one of the greatest films ever made. It has a sense of respect for the totality of life, and makes tragedy almost poetic.
 Kirk Douglas carries the burden of McLeod and makes the tormented policeman painfully believable–it is almost a nonstop, swirling performance…
 The abortion angle of the original play was taken to the screen, partlybecause of censorship, and partly because the close-up, immediacy of the camera requires rage to be clearly more explained than on the stage…
-Excerpts from various reviews (Amazon & IMDB)
Evil’s got a smell of its own. A child could spot it. -McCloud says, before giving some info re: his father/parents’ relationship
In this film, abortion is sinful, criminal, horrifying (personally and socially)- a tragedy. It appears from different angles: the Dutch abortion doctor (w/ his clever lawyer), the detective’s wife, her ex-boyfriend (who got her pregnant), and eventually, the detective. When Mary (Eleanor Parker) finally tells her husband (Kirk Douglas) about it, his worldview is too black and white to handle it. He calls her a “tramp”- she’s wasn’t expecting that reaction. All that matters is that she was intimate with someone before being married to him. She says she’s leaving him forever. He doesn’t go after her, as his fellow detectives urge. Mary gets her freedom.
Mary (Eleanor Parker) begs and cries, but McCloud (Kirk Douglas) doesn’t see her virtues.
This may be one of the early “typical day” genre- several different stories occurring over one day in the same location, but melded into a whole (as on the TV shows, Hill Street Blues and Barney Miller). A key ongoing side plot involves an unlikely/lovelorn first offender and the younger sister of his former girlfriend. He stole from his employer to win back his (model) girlfriend who has moved on to a different circle. McCleod’s partner, Det. Brody (William Bendix) is more gentle/understanding; this man reminds him of his dead (WWII hero) son.
Oscar nominations were given out for William Wyler’s direction, the screenplay, and for Parker and Lee Grant, lead and supporting actresses respectively. At a little over 20 minutes, Parker’s performance in this movie is the shortest to ever be nominated for a Best Actress Oscar.
I built my whole life on hating my father. All the time he was inside me, laughing. -McCloud finally realizes the truth about his personality
Since it was impossible to film the movie without portraying the killing of Detective McLeod, so this movie resulted in another amendment to the Production Code. From December 20, 1938 to March 27, 1951, there was a rule forbidding the display of law enforcement officers (EX: detectives, security guards, etc.) dying at the hands of criminals. From March 27, 1951 onward, the Production Code allowed such portrayals, if they were “absolutely necessary to the development of the plot” (as noted in the book The Dame in the Kimono by Leonard Jeff and Jerold Simmons).