Word: climaxes
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Dates: during 1950-1959
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...picture embellishes the London story with a long, sleepy flashback and some syrupy romantic interest (Vanessa Brown). As a Mexican guerrilla, Lee Cobb gives an intense performance, while Richard Conte is impassioned but too dashing as the peon. In spite of a vigorously photographed ring climax, The Fighter packs little dramatic punch...
...whole dreadful business comes to an epic climax in another fine scene in which cad Boone and bounder Peter Lawford fight it out with bullwhips, while on a crag high above them, the bush bobby stands like an ibex and dispassionately sees that justice is done...
...finely-drawn character, whose nerves tighten at every small crisis. The tremendous tension created in a single afternoon snaps his recuperative mechanism so that he must build it all over again. Stewart's style in this piece is especially interesting, since he changes it sharply at the climax, switching from a rambling impressionistic picture to sharp realistic prose. This method is well meant, but I think it tends to weaken the story structurally. The impressionism overbalances the beginning, making the conclusion, in contrast, almost weightless. But outside of this stylistic contention, I can only praise Stewart's sensitive and thoughtful...
Much of the credit, however, goes to Screenwriter Herman T. Mankiewicz, whose snappy dialogue and mastery of the Ozark idiom puts over the story. The plot it self is not spectacular. It follows Dean's career with St. Louis, reaching a climax in his disastrous arm injury, and leveling off with his transfer to the Chicago Cubs and final post as a baseball announcer. Though The Pride of St. Louis is basically another Stratton Story, Mankiewicz and Dailey have turned the Dean legend into a good movie in its own right...
...stage, High Treason is not quite so dynamic as Seven Days to Noon. The screenplay sometimes bogs down in low melodrama, and the pace lags now & then for wordy political digressions. But in Boulting's camera-wise direction the picture mostly crackles with pseudo-documentary excitement. The spectacular climax, as the saboteurs try to take over massive Battersea power station, was filmed at the actual locale among a futuristic welter of catwalks, dynamos and generating equipment. And Director Boulting gives the fanciful plot a realistic look with the odd British types who get tangled up in the titanic chase...