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Burt Lancaster is on great form here as the eponymous quick-talking and charismatic hoover salesman who alights upon the successful industry that is "Sister Sharon" (Jean Simmons). She preaches the word of God with a piousness that he finds compelling. Not because he shares her zeal, but because he can see the impact it has on the rather sheepish population who turn up at her prayer meetings in their thousands - and donate for the work of the Lord in just as generous a fashion. Initially, the Sister is sceptical but she underestimates his charms and his persevering nature. He, too, does some underestimating of his own and pretty swiftly they are a formidable team of evangelising fund-raisers. He has his detractors, though - not least his jilted lover "Lulu" (Shirley Jones) who resents his new found success and happiness, and so determines to ruin it all for him. Question is - is "Gantry" really a changed man, or is it all just a façade? There's oodles of chemistry on display here between Simmons and an entirely convincing Lancaster that mixes religion, affection and plenty of wry humour as the two play a cat and mouse game that you just know how is going to end up. The writing is pithy and lively allowing these two, as well as Arthur Kennedy and Dean Jagger to deliver meaningfully to this story of indoctrination - but by whom and into what? We used to have a Church of Scotland minister when I was young that I thought was a bit puritanical in his sermon delivery - I suspect he might have watched this!
**_The story of traveling tent revivalists in 1920’s America_** A fast-talking salesman from Missouri (Burt Lancaster) is attracted to the troupe of a winsome evangelist (Jean Simmons). Once he proves his abilities as a charismatic preacher, he joins the "road church" show, but a woman from his past threatens to shake things up (Shirley Jones). Arthur Kennedy plays a reporter who travels with the group by train. "Elmer Gantry" (1960) was based on less than one-fourth of the 1927 book by agnostic-turned-atheist Sinclair Lewis. It makes fundamental changes to the two main characters by painting them sympathetically and therefore less one-dimensional and more interesting. This makes the movie better than the novel (at least the parts on which it was based). I should point out that Jean Simmon’s character, Sharon Falconer, was inspired by the notable-but-controversial Aimee Semple McPherson. It goes without saying that the film must be interpreted separate from the novel. The message is somewhat ambiguous and leaves it up to the viewer to draw their own conclusions, which is a sign of quality art IMHO. While it’s clearly not anti-Christian, it criticizes how revivalism can attract charismatic people of dubious credentials and questionable morality, which naturally results in troubles that could’ve been avoided with a little wisdom. The movie version of the title character is a fascinating study. At the beginning he clearly basks in partying in a bar at Christmas, but is willing to drop everything in order to passionately help a worker for the Salvation Army acquire donations. Why? Shortly later, he’s traveling penniless and shoeless, but is drawn to the lively worship at an all-black assembly where the congregants stare at him curiously, until he happily joins in the singing of “Canaan Land” to show that he’s really just one of them, despite his skin-color: A poor man seeking the Creator and salvation or redemption. The movie’s basically a story about people in positions of influence vacillating between carnality and spirituality, a condition of which most viewers can relate. But, as Jim Lefferts (Kennedy) points out: "We don't like our gods to be human." While the flick definitely has its points of interest, such as the milieu of 1920’s Middle America and Shirley Jones never looking better, "The Apostle" with Robert Duvall is a less artificial experience that addresses some of the same issues more effectively. It’s ironic that Sinclair Lewis made his character Elmer Gantry have a weakness toward booze seeing as how the author perished in 1951 due to advanced alcoholism. At 2 hours, 26 minutes, the film’s overlong by about half an hour. It was shot in the studio in Culver City and Hollywood, as well as the Columbia/Warner Brothers ranch in Burbank, except for the Tabernacle sequence filmed in Santa Monica. GRADE: B-/B
In the African American neighborhood of Sag Harbor, Charles Blakey is out of work, out of luck and on the verge of foreclosure on his ancestral home. A knock on the door from mysterious businessman Anniston Bennet brings a bizarre and lucrative proposition; rent his dusty stand-up basement out for the summer and receive enough money to clear his debts for good. Once Charles accepts, he finds himself led down a terrifying path that confronts his family’s ghosts and locks the men in a terrifying puzzle, at the heart of it race, the source of their traumas and the root of all evil.
The timeless tale of Ebenezer Scrooge comes to thrilling new life as Tony winner Jefferson Mays plays over 50 roles in a virtuosic masterclass of a performance that must be seen to be believed.
A young refugee of the Sudanese Civil War who wins a lottery for relocation to the United States with three other lost boys. Encountering the modern world for the first time, they develop an unlikely friendship with a brash American woman assigned to help them, but the young man struggles to adjust to this new life and his feelings of guilt about the brother he left behind.
In 1920s Chicago, Italian immigrant and notorious thug, Antonio 'Tony' Camonte, aka Scarface, shoots his way to the top of the mobs while trying to protect his sister from the criminal life.
After getting into a serious car accident, a TV director discovers an underground sub-culture of scarred, omnisexual car-crash victims, and he begins to use car accidents and the raw sexual energy they produce to try to rejuvenate his sex life with his wife.
Apu and his family have moved away from the country to live in the bustling holy city of Benares. As he progresses from wide-eyed child to intellectually curious teenager, eventually studying in Kolkata, we witness his academic and moral education, as well as the growing complexity of his relationship with his mother.
When petty criminal Luke Jackson is sentenced to two years in a Florida prison farm, he doesn't play by the rules of either the sadistic warden or the yard's resident heavy, Dragline, who ends up admiring the new guy's unbreakable will. Luke's bravado, even in the face of repeated stints in the prison's dreaded solitary confinement cell, "the box," make him a rebel hero to his fellow convicts and a thorn in the side of the prison officers.
The life of a Russian physician and poet who, although married to another, falls in love with a political activist's wife and experiences hardship during World War I and then the October Revolution.
Senator Walter Chalmers is aiming to take down mob boss Pete Ross with the help of testimony from the criminal's hothead brother Johnny, who is in protective custody in San Francisco under the watch of police lieutenant Frank Bullitt. When a pair of mob hitmen enter the scene, Bullitt follows their trail through a maze of complications and double-crosses. This thriller includes one of the most famous car chases ever filmed.
While grieving a terrible loss, a married couple meet two mysterious sisters, one of whom gives them a message sent from the afterlife.
The deformed Phantom who haunts the Paris Opera House causes murder and mayhem in an attempt to make the woman he loves a star.