Some Came Running
Directed by Vincente Minnelli
Dave Hirsch, a writer and army veteran, returns to 1948 Parkman, Indiana, his hometown. His prosperous brother introduces him to Gwen French...
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★★★½ review by Josh Larsen on Letterboxd
Thank goodness this movie has Shirley MacLaine. Her Ginnie is hardly a paragon of feminism, considering she initially follows Frank Sinatra's Dave around like a puppy dog. (This is emphasized by the stuffed-animal handbag she carries, which just might be the saddest purse in cinema history.) But Ginnie has a spark all her own, independent of the men circling her. I love how she chows down on a burger early on, or later giddily sashays her way into a nightclub act. It’s her willful joie de vivre that charms Dave, and eventually the tiny glimmer of good we see in him begins to bloom whenever Ginnie is around. More importantly, when he falls back into mistreating her, she calls him on it. “You really shouldn’t talk to me like that,” she insists. “I’m a human being.” And a wonderful one. (Full review here.)
★★★★½ review by Kristen Yoonsoo Kim on Letterboxd
tears flowed out of my right eye when shirley maclaine said she’d give her right eye to be loved by frank sinatra </3
★★★★★ review by Graham L. Carter on Letterboxd
“Aren’t men terrible?”
“Ain’t they though?”
in my last log I think I said the movie is novelistic because of the atmosphere. all the details build off of each other to form such a full world. i’m so in awe of Minnelli’s direction here, a staggering achievement. Parkman recalls Thomas Wolfe’s Altamont, another novelistic touch, and we have such a grasp on all its goings on. Even ends with a marble angel (looking homeward perhaps heh).
of course maclaine’s performance is absolutely devastating, one of the most sensitive ever, the entire sprawling narrative is actually built around her. “you gotta remember I’m a human being.”
★★★★★ review by trolleyfreak on Letterboxd
Ol' Blue Eyes, Dino and Shirley Mac are on blistering form in Vincent Minnelli's incendiary widescreen melodrama, an adaptation of From Here To Eternity author James Jones's breeze block of a novel and one of the finest films of Eisenhower-era American cinema.
The film builds to a delirious climax where the director's theatricality comes to the fore in a feverish bustle of flashing lights and a carnival of colour.
★★★½ review by sarah 🌙 on Letterboxd
My favorite aspect of this film is that Dean Martin never takes his cowboy hat off— even in bed— or else it will bring him bad luck. It's like the yeehaw version of the Never Nude in Arrested Development.
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