State Of The Union (1948)

Director Frank Capra’s magic with Spencer Tracy and Katharine Hepburn doesn’t quite happen this time around. Angela Lansbury’s villainous role (she is excellent in this film) and Van Johnson’s one-liners (that begin to wear thin) help keep the film afloat. Kay Thorndyke (Lansbury) hatches a plan to get aircraft builder and philanthropist Grant Matthews (Tracy) to run for President. To make him appear as a wholesome candidate they also convince Matthews’s estranged wife Mary (Hepburn) to tour with him for the campaign. In reality, Mary knows that her husband is having an affair. When Mary and Grant finally do meet, their relationship is revived and story contrivances are enacted. Meanwhile, the viewer (this reviewer) goes “um, okay.” Personal politics aside, State of the Union doesn’t quite work. The writing does not completely translate well and general political views for both Republicans and Democrats slant more towards the naive than the ideal. When the film was released in 1948, the “good ‘old boys” ran the show and sadly this has not changed. The positive here is Lansbury who acts with such fire and venom (she wants to be a good ‘ol boy but obviously, physically, cannot be) one wonders why she didn’t receive stronger dramatic roles early on in her career. Based on the play by Russell Crouse and Howard Lindsay.

The Leopard (1963)

The Leopard is one of those pictures where words like “Epic” and “Masterpiece” are used but when one sits down to see it, the viewer wonders what the big deal was about. The Italian cut is close to director Luchino Visconti's preferred version but is dubbed which in my view, is the worst thing one can do to any film. (Yes, I know that’s how they made it!) The American cut is shorter (and dubbed) but also takes away some of the movie’s style and grace. Outside of Burt Lancaster who is excellent as Prince Salina, everyone else looks a little lost. The movie also contains an ambitious “war” sequence, although important to the story, only serves to fill the screen with screaming and falling extras making the actions seem silly and conflicts with the content and tone of what is to come. The Leopard ends with a significant 55-minute party sequence where many of the movie's themes are revealed (i.e. the ever-evolving class struggle, perceived values and etiquette vs. contempt towards the establishment, etc.). Both versions of the film are available through The Criterion Collection and Netflix.