A Big Hand for the Little Lady *** (1966, Westerns)
Summary: As the biggest high-stake poker game in the West begins, compulsive gambler turned homesteader, Meredith, is drawn into the game. With the entire family fortune at stake, he suffers a heart attack when delt a winning hand. Mary, his pluck penny-pinching, long-suffering wife, steps in. As she plays the hand, she assails her rivals with fortitude and guts. Each is transformed into a model of sensitivity. But a twist ending reveals Mary has had more than fortitude up her sleeve all along.
Our Man in Havana (1960)
Summary: Alec Guinness gives a terrifically funny performance as Wormold, a man reluctant to be enlisted as a secret agent by a desperate and ridiculously credulous "intelligence" service. Wormold, a lonely father of a nubile daughter, wants extra money to provide for her increasingly expensive wishes. One day, rather hopelessly and absently, he sketches the interior of a vacuum cleaner he is supposed to be selling at his modest business, pretending this sketch pertains to some dangerous real-life strategic device. His employers are elated. Unfortunately, they demand more and more from the now equally desperate Wormold. As he invents more outrageous fictions, they grow ever more fascinated. Then comes the kicker: Wormold's elaborate fantasies begin to come true. He has created a monster, in effect. The complexities of his imaginary spy world begin to envelope him. The outcome is terrible - and teribly funny. The subtle comic genius of Guinness may be lost on some American audiences, or it may be just your cup of tea. I laughed till I cried. I have never forgotten this movie since I saw it when I was an English major, studying Graham Greene, among others.
Buffalo Bill and the Indians ** (1976, Westerns)
Summary: Robert Altman was often ahead of his time--once at the cost of being behind himself. Buffalo Bill and the Indians, a snorting exposé of the U.S. predilection for buying into heroic myths, opened on July 4, 1976. Clearly the film was positioned as the ultimate bicentennial event, Altman-style. But Altman had already delivered that a year earlier: the splendiferous, deeply disenchanted yet exhilarating Nashville. Both Nashville and Buffalo Bill are films about America-as-show business, hucksterism, and the rare miracle of performance. But everything Altman got so thrillingly right in Nashville, which teems with life and mystery and widescreen dynamism, came out flatfooted and obvious in Buffalo Bill, a cramped, smirky inside joke that ends up being on the joker.
The setting is the base camp for Buffalo Bill Cody's Wild West Show, where the blustering Indian fighter of legend is gearing up for his latest national tour. Apart from sharpshooter Annie Oakley (Geraldine Chaplin) and her great friend, the Sioux chieftain Sitting Bull (Frank Kaquitts), the show is populated by phonies and opportunists. Biggest phony of all is Cody (Paul Newman), whose fame has been based more on the penny-dreadful scribblings of Ned Buntline (Burt Lancaster) than on any real accomplishments; even his long blond tresses are fake. Altman and cowriter Alan Rudolph (working from a play by Arthur Kopit) thump their insights about the Establishment's feet of clay as if they were breaking-news bulletins instead of countercultural clichés. Only the occasional ineffably mysterious Altman zoom shot offers relief. --Richard T. Jameson
