Michael Mann: The Logistics of Action

The following post is a contribution to the excellent Michael Mann blog-a-thon going on at Radiator Heaven.

Even though director Michael Mann has embraced the vagaries of technology with wonderful and illuminating results, it's nice to see that he hasn't succumbed to the post-modern style of editing and framing the muscular portions of his films; i.e. all those discombobulated, half-a-second-long shots that comprise so many action scenes today and represent a step backwards for concise and logical storytelling. I can always tell when a film plans to go down this wretched path. The opening car chase scene in "Quantum Of Solace" for example.... a car chase that sprays across the screen, full of shiny images, wincing faces, loud noises and a complete lack of spatial reference. I could feel myself slumping down lower in my seat after 90 seconds, wondering how I would ever make it through a film so spliced and diced within an inch of its life. If this is the continuing procession for all action films for the next ten years, then count me out.

And then there's Michael Mann and his 1995 masterpiece, "Heat". Featuring the greatest bank heist created on film so far (and a scenario that would frightfully play itself out in real life one year later), not only is it an exhilarating example of adrenaline film making, but it stands as my personal watermark for how every action film should be conceived.

It stands by two rules: 1. Allow the viewer to understand the setting. What makes this shoot-out in "Heat" so bracing is it's placement of good guy and bad guy. Watching it, we understand exactly where everyone is in relation to the buildings and people around them.







Through his use of over-the-shoulder tracking shots and cleanly developed medium shots, the image isn't distorted and we're allowed to see from behind the various shooters, giving us a panoramic view of the carnage being unleashed on poor downtown Los Angeles. Perhaps the most striking example of this is when Val Kilmer runs up behind a car and begins to unload on the crowd of police cars ahead of him. As he ducks to reload, Mann's camera patiently waits with him as he reloads and then re-emerges. The setting fits perfectly with the action.


2. Give the viewer a spatial sense of how the image effects the characters. If the first rule isn't in place, then the characters feelings, actions and placement must be transferred through editing. Thinking of the old trick of editing- if one were to cut to the face of a woman expressionless, then to a bright summer sky, then back to her face, the viewer may infer that she's happy to be taking in such a sunny visage. Compare the same sequence of shots with a black, ominous sky and our preconceptions may be vastly different for this woman. The same applies here. If an action scene is cut into a nauseating array of shiny images, loud noises and confusing design, then the viewer can become distressed and forced to accept the set-piece as something happening without any real foundation of cause and effect. In "Heat", every action has a counter-action and the viewer understands exactly where these actions come from. As Neil McCauley and his gang try to make their escape in their car, the bullets coming from outside:


Have disastrous (and logical) repercussions inside:



But Mann's attention to physical detail doesn't belong at just the halfway point. "Heat's" conclusion, filmed in an airport storage yard at night time, probably posed an equally difficult challenge. Instead of morphing into a shoot-em-up, the finale is full of quiet tension as the epic cat and mouse chase between DeNiro and Pacino ends with the same lucid intelligence that it started with.







The demise of DeNiro is told through light, sound, camera placement and viewer recollection. There's a very important reason Mann gives us images of planes coming and going and those runway lights brightening the area. For a thief who lives his life through mechanical diligence, its a fitting way to go out. And for Mann, it's not hard to see a bit of the obsessive concern that plagues all of his criminal anti-heroes. Whether its maneuvering through the locks of a safe, diverting their violent paths for the soft touch of a woman or slugging it out with heavy artillery, I'm just glad I can savor the clean images that tell every story. Can't every action film take place in 1995 before the slice and dice method became predominant?

70's Bonanza: Mitchum X 2

From 1973 to 1975, Robert Mitchum lived and breathed in the world of pulp. In 1973, there was "The Friends of Eddie Coyle". The next year... Sydney Pollack's "The Yakuza". Then in 1975, "Farewell, My Lovely", the third film to be based on the Dashiell Hammett novel of the same name. Maybe it was Mitchum's sad-sack, world weary face that naturally lent itself to the roles of various hoods, stoolies and tired detectives. Whatever the reason for such a powerhouse one-two-three punch, I'm just glad they exist.

The absolute best of the bunch- Peter Yates' "The Friends of Eddie Coyle"- has been newly released on DVD for the first time by Criterion, providing movie enthusiasts such as myself the opportunity to take in a (somewhat) forgotten masterpiece. A low key and almost clinical peek at the underbelly of the Boston underworld, Yates' film virtually renders Mitchum (the titular Eddie) as a secondary character, caught up in his own desperation to stay out of jail at 50 years old and give up his friends and associates involved in some heavy stuff. It's a bold move, but "The Friends of Eddie Coyle" should be seen as a sprawling examination of the mechanics of crime rather than an actual character study. Mitchum is the big name, but the smaller roles are what really flesh out "The Friends of Eddie Coyle" as a dynamic portrait of this particularly dangerous sect of people. Littered with familiar character actor faces (Alex Rocco, Joe Santos, James Tolkan, Richard Jordan, Steven Keats), Yates draws great tension out of every scene. Three bank robberies, a police stake-out in a parking lot, and the final night on the town for Eddie Coyle are supplemented with a filmmaking style that's simple and economic. And this is a film that understands the power of silences. Just watch the progression of shots as Jackie Brown (Keats) waits in a parking lot or the cryptic conversation between Dillon (Peter Boyle) and cop (Jordan) that basically says everything without saying anything.

But among this sordid world, there's still Robert Mitchum. He tells you everything you need to know in the opening scene as he describes how he got his nickname of "Fingers" in a breathless monologue. It's a quiet performance that reeks of regret and hard-worn bad luck. And when Mitchum talks or looks into the eyes of the Jordan's slick cop, deciding whether to rat or not, his eyes tell us the whole story. The benefit of time is certainly on his side as an actor.



A little less successful than "The Friends of Eddie Coyle" but intriguing nonetheless is Dick Richard's "Farewell My Lovely" (1975). Desperately wanting to mine the same cinematic and critical gold as Roman Polanski's "Chinatown" a few years earlier, this third installment of the great Hammett novel has the artificiality of 40's noir but not the real gusto. As Philip Marlowe, Mitchum is highly watchable, spouting the ironic lines of his weary detective role with half amused energy. The story itself- something about a missing chorus girl and the ties of one powerful family to the very heart of corruption in Los Angeles- were surely monumental in their day, but by 1975 this slick decor had run its course. Part of the minor failure of "Farewell My Lovely" can be found in the abrupt shift film noirs took during the 70's. If "Chinatown" closed the book on mimicking the old style, then "Point Blank", "The Long Goodbye" and "Night Moves" were definitive indicators of the new prevailing winds.... kinetic, self-reflexive and concerned with modern attitudes clashing against old manners. Regardless, "Farewell My Lovely" centers on the bulky shoulders of Mitchum as he trudges across the city at night and slowly segues from one predicament to another. What else do we expect from Philip Marlowe? Yet only Mitchum could probably pull off the meaningful way in which he tosses a baseball back to a little boy whose father won't be coming home. Whether he's playing the stoolie or the good guy, Mitchum has that unique way of making one believe in his actions.

Currently Listening To

Smog:



and The Handsome Furs:

Top 5 List: Kooky Father's Day Stories

1. National Lampoons Vacation- As Clark Griswald, Chevy Chase is probably the most fantastically realized father in film history. Full of child-like wonder and unstoppable drive for his family to simply have fun, Chase also portrays him as a well-meaning (yet bumbling) person who exudes goodness. In "National Lampoons Vacation", it all started. The nightmare of cross-country travel... the resonantly funny situations... and the American summer vacation dream that ends with a felony. The laughs only continued to grow in the Griswald's travels to Europe and then maneuvering through the holidays- and I won't mention Vegas, which is painful- and Chevy Chase embodies middle class fatherhood with glee each time.

2. He got Game- Certainly, a more screwed up look at fatherhood then the previous entry, but Spike Lee's pseudo basketball movie is also an extraordinarily moving examination of the walls that build up between father and son. Ray Allen has been maligned for his poor performance here, but I found his un-actorly methods quite refreshing. As a jailbird father released in the hopes of getting his top prospect son to sign with the warden's Alma Mata, Denzel Washington hams it up a bit, yet the final showdown between father and son on the basketball court is one of Spike Lee's most inventive narrative devices- a basketball game that reverberates with moral and cosmic weight. It's a masterstroke. Then comes the moment when a basketball seems to explode through time and space. The tenuous bonds between father and son have never seemed so palpable.

3. The Adventures of Sebastian Cole- Here's a different type of relationship between father and son... and a wonderfully overlooked late 90's film that deserves to be seen. Directed by Tod Williams ("The Door In the Floor") and starring a young Adrian Grenier, the film takes place in the late 80's and perfectly nails its time and place. Confused, dealing with young love, and some unique family circumstances, "The Adventures of Sebastain Cole" belongs among the ranks of "Kicking and Screaming", "Adventureland" and "The Beautiful Girls"... films that place young adults amidst the very definitive points in their lives and treats them with respect. As Sebastian's father, actor-director Clark Gregg plays out his unique role with satisfying humanity. What could've been a soap opera trick propels young Sebastian into a well-adjusted adult ready to face the tumultuous world.

4. Field of Dreams- C'mon. Seriously. If you don't choke up a little bit when Costner asks his father "you wanna play catch?" then you don't have a heart. Or love baseball to its core. Or you never spent an afternoon playing catch when you were a kid. Though it takes its solemn time actually getting to that point, Alden's monumental baseball reverie is really about a son making amends with his father. Stunningly simple filmmaking with real heart. No matter how many times I watch this thing, I still find that lump in my throat growing the second Burt Lancaster steps up to save Costner's choking daughter.

5. Mr. Mom- Remember when Michael Keaton could do no wrong? I LOVED this movie when I was younger and it still gets me today. Sure, the whole thing has been derided for its sitcom style comedy, but Keaton jumps into every scene with such enthusiasm and the idea of a father learning to understand the day-to-day rhythms of his household really work.

70's Bonanza: The Taking Of Pelham 123

The rising tide of emotion over Tony Scott's remake of Joseph Sargent's "The Taking Of Pelham 123" is reaching the climactic cry of "why"? There are its admirers and certainly its detractors (plus more harsh words). As an unabashed Tony Scott fan, I'll certainly give it a look, aware of its tricked up cinematography and amplified square off between a goateed, menacing John Travolta and a subdued Denzel Washington. This is not the original... a film which deserves its rightful place in 70's cinema as a hard-edged, no nonsense hostage film that looks even trendier today than I'm sure the grit and grime of 1970's New York did upon initial release.

For anyone who says director Joseph Sargent provided a "workmanlike" effort on "The Taking of Pelham 123" needs to look a little closer. From the opening exterior shots of the hostage-takers silently assembling in the subway station to that sublime and impeccably humorous final freeze frame, Sargent's film is wrapped in auterist moments. Take also the first (and last) images of criminal ringleader Robert Shaw, introduced through tapping, impatient feet in a subway station and ending on a self destructive tap of the shoes on the underground electric track. With the exception of the tracking shot that follows a cat into a dark doorway, up to a pair of shoes, and eventually to the half-hidden face of Orson Welles in Carol Reed's "The Third Man" as he picks up the cat, I can't think of a more inventive introduction to a main character through an almost throwaway moment. Great stuff. And back to Shaw himself. As the good guy transit detective, Walter Matthau does his lumbering best to imbue every scene with the world-weary nonchalance that made him famous, and it's a harmonious collision when he and Shaw finally begin communicating through the train's radio. Decisive, intelligent, well organized and brutally efficient, Shaw creates a purely evil bad guy out of (basically) thin air. It's always the icy, quiet person who embarks on the killing rampage, and Shaw embodies Mr. Blue as a man who never raises his voice but gets exactly what he wants. It's an understated performance, but one that grows on you with repeat viewings. Here's a well-drawn villain because we understand everything has been planned down to the inch. With preparation like that, it's all tone of voice and steely gaze and Shaw carries it out with perfection.

Then there's the tension generated by the film. There's little action- one car chase that ends just as quickly as it begins and sporadic gun fire- yet "The Taking Of Pelham 123" carves its place in the niche of 70's cinema alongside other thrillers (paranoid or otherwise) that understands atmosphere, acting, pacing and dialogue are the keys to success. With their limited screen time, Jerry Stiller, Martin Balsam, Hector Elizondo and Dick O' Neill resonate long after their supporting turns as guys trapped on both sides of the hostage crisis. And then there's that final scene.... intriguing because we don't expect Sargent and screenwriter Peter Stone to fully evolve the story beyond the actual titular action. But they do. And it lands on that cat-like grin of Walter Matthau as his long day comes to an end. With that, "The Taking Of Pelham 123" immediately re-assesses itself as a study of good overpowering evil. In it's small way, New York City is saved again.

Produced and Abandoned: Part 2

Ten more titles that deserve a release on Region 1 DVD:

1. The Keep (1983)- The only Michael Mann not readily available. This aired on Bravo or TBS a looong time ago and I missed dubbing it onto a shoddy VHS tape (or maybe I did and the VHS tape broke!). The word of mouth has been lukewarm, but damn it, hiding any Michael Mann from the eyes of the mainstream is a crime.
2. Second Sight (1989)- Does anyone besides me remember this movie? John Larroquette as a detective who enlists the help of psychic Bronson Pinchot to find a missing person? Probably supreme self indulgence on my part (who really wants to see this?), but I loved this movie when I was younger.
3. A Brighter Summer Day (1991)- With Taiwanese director Edward Yang passing a couple years ago, I think it's definitely time larger audiences get a glimpse of this (supposed) towering achievement. Art house fans label this the holy grail, as there's several versions floating around out there, and a supposed 4 hour cut that made the rounds at festivals. While we're at it, how about a proper release of "Taipai Story" as well?
4. Freebie and the Bean (1975)- My dad and other older friends rave about this film. It pops up occasionally on TV, but a DVD look is long overdue.
5. That Cold Day In the Park (1969)- Prolific output does tend to raise the Not on DVD quotient, and Robert Altman certainly fits the bill. Even though "Brewster McLoud" dots alot of these lists (seen it, wasn't too impressed), this title has always eluded me.
6. The Last Movie (1971)- Bat shit, coked-up Dennis Hopper is always kinda good. And bat-shit, coked-up Dennis Hopper as director is even crazier. While I can't always claim this is a good movie, there are some interesting ideas and Hopper does his best to contribute to the bloated, independent feeling of out-there 70's cinema. Like some of Wim Wenders, "The Last Movie" is a self-reflexive look at filmmaking-as-apocalypse, and I'd love to see the reaction this film gets on wide release in region 1.

And now, a few titles suggested from the United Provinces of Ivanlandia blog

7. The Devils (1971)- Ken Russell's much sought after film about nuns and, well devils, is getting some talk around the blogosphere as it recently turned up on region 2 DVD. With other Russell BBC films making their DVD splash earlier this year, here's hoping "The Devils" isn't far behind.
8. Run of the Arrow (1957)- We always need Sam Fuller on DVD.
9. The Hellstrom Chronicle (1971)- Honestly, I had to look this one up. You learn something new everyday. 1971's Oscar winner for best documentary is called "a visually stunning look into the vast world of insects".
10. The Island (1980)- No, not the marginally entertaining Michael bay flick with (yum) Scarlett Johansson, but Michael Ritchie's (hugely under appreciated) violent pirates movie starring Michael Caine. I'm there.


And a few quick notes. Thanks to readers of the blog, looks like I'll be seeing two films from my previous post including "Wanda Nevada" and "The Outfit". Thanks!

Secondly, TCM is showing some phenomenal films this much, and in late June, they'll be showing Lumet's "The Deadly Affair" which I've been grasping to see for years as well as other 70's not on DVD films such as "The Carey Treatment". Again, you gotta love TCM.

The Con Game and the New Cool

In the most recent copy of "Film Comment", writer Phillip Lopate examines the abilities of film-goers (but more specifically, the film critic) to reverse their initial opinion of a given movie. We all have those moments. I can remember the first time I saw "Boogie Nights" and it left a general "meh" feeling over me. Some initial thoughts jotted down for others to read was disparaging.... something about a Scorsese knock-off. Then, after witnessing the magisterial brilliance of "Magnolia" two years later, I went back and re-watched "Boogie Nights" and the cribs from other movies didn't feel so blinding. There's the stunning Little Bill long-shot... the sharp flashes of emotion that ring through.... the Sister Christian scene which still builds up incredible tension when viewed today... P.T. Anderson was simply working on a different level than everyone else at the time and that lost me a bit. Now, after recently watching Rian Johnson's "The Brothers Bloom", I felt extremely tempted to go back and watch his debut film, "Brick", and give it a second chance. His sophomore film is a con film, yes. It's hard to take anything seriously because you're searching for the elusive lie behind the images. Yet, "The Brothers Bloom" is such a well-crafted film, entertaining (and yet idiosyncratic) in every respect and visually sumptuous that I feel like I missed something in his first film. Any filmmaker with this much talent to burn deserves a second chance.



Starring Mark Ruffalo and Adrien Brody as grifting brothers who choose the eccentric but wealthy mark played by Rachel Weisz, "The Brothers Bloom" establishes itself right away as another entry in the cinema of "New Cool" as I call it. Director Wes Anderson being the godfather of this movement, of course, Johnson employs some of the same stylish techniques (whip pans, cutesy acoustic music, vibrant color schemes) but creates characters and a story that feel all their own. Perhaps too whimsical for some, I absolutely loved the way Johnson films Brody and Weisz falling in love through a simple dolly tracking shot as they walk the streets of Prague, disappear behind a row of stone pillars, and re-emerge holding hands. Self conscious and definitely aware of its coolness, "The Brothers Bloom" doesn't beat one over the head with it though. Keeping the sweetness intact between child-like Weisz and impressionable Brody as the story (and con-game) grows convoluted is the single masterstroke of Johnson's "The Brothers Bloom". Their relationship isn't a con, and that makes the whole thing work. Also, as in "Brick", Johnson keeps the eye entertained by a shifting pastiche of costumes and time, as if he's ingested more film noirs, Hollywood musicals and David Mamet plays than Quentin Tarantino. While the black suits and shades worn by the brothers remains consistent throughout, there's a great scene towards the beginning of the film where we think the action is happening in some burlesque in 1920's Chicago, and then the brothers emerge in broad daylight on a graffiti-filled rooftop overlooking a very modern downtown. Again, some of the images in this film are breathtaking. But if there's one fault to be had, it's more of my own pre-conceived disappointment than the film itself. I kept waiting for that one great set-piece that never comes. Most con films rely on this, and "The Brothers Bloom" zips by so fast from con to con, that we barely have time to register a point or outcome. Regardless, Johnson's intention may be more on the relationship between Brody and Weisz and Ruffalo than anything else. In the way "Brick" was a high school tale told through the prismatic notion of a hardboiled film noir, "The Brothers Bloom" could be a family drama played out against the shifting diversions of the grifter's tale. Johnson seems to relish telling small stories against the fabricated backdrop of embedded narrative styles. And with "The Brothers Bloom" he does this magically.

So, this leads me back to "Brick", Johnson's 2006 debut starring Joseph Gordon Levitt as a high school kid caught up with some seedy 'gangsters'. Perhaps it was the hype. Perhaps it was the stilted, manufactured dialogue. I went into this one with some anticipation, and came out supremely underwhelmed. Watching it again today with some perspective, I realized just how wrong I was. Carefully composed as if every shot where framed within an inch of its life... that crazy good scene in the parking lot... the lovingly rendered and modernized way Johnson has taken the film noir and turned it completely inside out... how did I possibly miss this upon first viewing? At least I now understand the error of my ways. Thankfully, the movies do exist with revisionist history. And, if you haven't seen either film, I urge you to do so (one on DVD and the other currently in release). I suspect that Rian Johnson will be a name I echo many times around these parts.

Eating Disorders

Abdel Kechiche's "The Secret of the Grain" belongs to that rare sub-genre of international cinema that patiently observes a way of life with unwavering naturalism and empathy. While more than two hours of this 153 minute movie concerns itself with the various interactions and tensions that arise over the dinner table with an immigrant family living in France, it's never boring and certainly never wears out its welcome. And when a simple crime surfaces in the final ten minutes, it's not only a crushing revelation to the family patriarch Slimane (a bottom-feeding but very humble character), but its treated by director Kechiche as if the very fabric of time and space has been ripped apart in a quiet explosion. Watching it, I was consumed by anger... disturbed by the seemingly passive manner of laughter by the young criminals, and ultimately overtaken by compassion for Slimane (Habib Boufares). Like the movies of the Dardennes brothers (or, most pointedly, De Sica's classic "The Bicycle Thief"), "The Secret of the Grain" exposes us to the tenuous underbelly of life where a minor inconvenience for us registers as an earth-shattering assault on the lower class 'others'.
But, I'm allowing my praise to get ahead of me here. Set in modern day Southern France, Slimane is the central figure to a large family. Quickly after losing his job though, he embarks on refurbishing a boat and opening a couscous restaurant. We follow Slimane and are slowly introduced to his large family (over Sunday dinner, of course) where the camera restlessly conveys the passion, trust and (at times) dissolution of the various family members. Slimane is divorced, occasionally seeing his overbearing daughter but preferring the company of his girlfriend and her daughter Rym (a miraculous Hafsia Herzi). Slimane is subdued, introverted and Rym dotes on him like the father she never had. It's their relationship that soon overshadows everything else in the film. They dress up and attempt to gain the proper licenses and permits to open the restaurant, yet only encounter the nastiness of that thing we call bureaucracy. Then, through a stroke of business ingenuity, Slimane prepares a party for big spenders and city officials to gain support and backing for his idea. But, trouble arises and Kechiche strings out the final dinner party to almost unbearable proportions as a small mistake soon envelops the whole family and Slimane especially.

As previously mentioned, "The Secret of the Grain" builds up strong camaraderie between the viewer and its characters. While some may find Kechiche's filmmaking style pretentious- such as the scene where Slimane's daughter in law suspects her husband is cheating on her and she explodes on Slimane in a scene that rolls on for several minutes in an exhaustive array of screams and tears or the final belly dancing scene- for me it all made sense. I was immediately drawn into this world... its messiness.... its complete abandonment of usual character development... it all felt like the best of John Cassavates where we watch people dissolve and bounce off each other through laughter and talk. It may not be a defining idea, but "The Secret of the Grain" hits all the right notes. And the food looks incredible.

I Still Can't Believe My Eyes

AL West Standings
W L PCT GB STRK
1. Texas 30 19 .612 0 Won 3
2. Los Angeles 24 24 .500 5.5 Lost 2
3. Seattle 24 26 .480 6.5 Won 3
4. Oakland 18 29 .382 11 Lost 4


Tough loss today against Oakland, yet the Rangers still took 3 out of 4. Winning series in baseball is what matters. But the best record in the AL? The huge dividends the entire pitching staff is showing? The sparkling defense (led by a young, exciting shortstop rookie that will become, in 2-3 years, the face of this franchise I'm sure)? Yep, all these things are contributing. I don't know if it'll last- some of the rickety leanings of the starting rotation are beginning to surface-but damn it's fun watching this team play some great baseball right now. And the talk here right now is that, possibly, the upcoming road trip to the dreaded East Coast against Yankees/Red Sox will be a defining moment in this early year for the Rangers. They continue to get little plugs in the national media here and there, but their underwhelming performance against the Yankees here in Texas last week was not good attention.... now its time to go that wiffle ball park... err new Yankee stadium... and see if the allure the Yanks hold over this team is over. Then Fenway. Then back here and a scrappy Blue Jay team. We'll see. Fingers crossed. Knocking on wood. I think this may be the year Playoff baseball returns to my fair burg and jeez everyone is pumped about this team.

Produced and Abandoned- Part 1

So, thought I'd try a new recurring feature here. The demands for movies not on DVD is growing in chorus everyday. Warners, with its newly announced Archive sessions, is a definite step in the right direction..... if I wanted to shell out $20 bucks apiece, sight unseen, for the 175 or so movies that aren't readily available on disc. But, this is an admirable move on part of Warners to dispense with long-lost titles that may or may not be financially viable on the home video market. And then there's the fact that I've got 118 titles in the Netflix queue ready and waiting to be seen... but the thing that really haunts me (and so many other movie lovers) are the ones we can't get our hands on or shuffle within the queue and have ready at our doorsteps tomorrow. It's excruciating, I know.... and I suppose if this is the biggest of my worries, then I'm doing ok.

So, this on-going and evolving feature is intended to call out some of the movies not on DVD that I desperately want to see for the first time, or again. My hope is that you, fellow readers of this blog, will chime in and give me some of yours as well. While bloggers such as Moon In the Gutter and Fin De Cinema track the various region 2 and obscure 70's gems with much more passion and fervor than I do, I want this to be a group effort. Reply in the comment section and when I create numbers 2 thru whatever in the future, I'll be sure to include those and link your blog. Maybe, over time, we'll have a flexible and fairly authoritative list on par with the now defunct DVD Journal MIA List.

And before the debut list, a couple of quick Not on DVD viewing notes: check out Turner Classic Movies this week where they're showing a Robert Duvall flick called "Badge 373" from the mid 70's (which I've never heard of, but is described as a "Dirty Harry" influenced cop drama) and the 1970 Italian film "Machine Gun McCain" with John Cassavetes and Peter Falk. Set the Tivos now!

Produced and Abandoned: Part 1


1. The Outfit (1973)- Robert Duvall film that seems to top most of these lists. There was a screening very late at night on TCM last year, so prints are floating around. No idea what the hold-up is on this one.
2. Wanda Nevada (1979)- Peter Fonda is a very under appreciated director. If one gets the chance, check out his other two features, the excellent western "The Hired Hand" and the definitely 70's sci-fi trip "The Idaho Transfer". This one stars a young Brooke Shields and teams up the young Fonda with father Henry. Reviews haven't been kind, but based on his first two films, I'm willing to give this one a chance if we ever see it.
3. Homicide (1991)- After first becoming aware of the brilliance of David Mamet back in the mid 90's, I tracked down a VHS copy of this film. As usual, its bitter and sharp and a nearly perfect police con that continually keeps you guessing. With virtually every other Mamet film available, no clues as to why this one has remained hidden from the public.
4. Secret Beyond the Door (1948)-I'm just beginning to crack the surface with Fritz Lang films, and the thought that I possibly won't be able to track down a copy of 5 or 6 of his films is disturbing. TCM... where are you?
5. The Deadly Affair (1966)- I went a little obsessive over watching any and all Sidney Lumet films last year. With the exception of a handful that have never been released on VHS or DVD, the one that aggravates the most is his 1966 spy thriller entitled "A Deadly Affair". There are some region 2 copies floating around, but I don't feel like paying $35 plus. Here's hoping a recent retrospective at New York Film Forum will put pressure on certain distribution companies. I understand it may be available online, so I'm trying to find out where. Still, a tangible DVD copy is long overdue.
6. Illustrious Corpses (1976)- Francesco Rosi makes some incredible films. "Hands Over the City" and "Christ Stopped At Eboli" are touchstones of Italian cinema if you ask me. Yet only 5 of his films are available on DVD. This one has been called an enigmatic conspiracy thriller.
7. The Fixer (1968)- John Frankenheimer directed. I've managed to see all of his films except this one from '68 and the martial arts thriller called "The Challenge" in 1982. That movie is available on VHS (for over $50 on Ebay) but no sign of "The Fixer" which seems to follow Frankenheimer's early stage days as a film about a Jewish man kept in captivity for unjust reasons.
8. Illtown (1996)- Faithful readers of this blog know my extreme appreciation for indie director Nick Gomez, and this (his third film) didn't get the best word of mouth. I saw it in an empty theater on opening weekend, and its hazy, elliptical portrait of Florida drug dealers and youth starring Michael Rappaport, Lili Taylor and Tony Danza (yes) made an indelible impression. It deserves to be seen and judged on its own.
9. Alamo Bay (1985)- Another director suffering from just 2 or 3 omissions from his entire body of work (also which includes the early 70's film called "Black Moon" that sounds utterly promising), Louis Malle's early 80's drama stars Ed Harris as a Texas rancher dealing with immigration.
10. The Kremlin Letter (1973)- While Huston's seventies work is not considered his most riveting, this cold war thriller sounds intriguing. With the attention paid to his 1979 film "Wise Blood" from Criterion a few weeks ago and "The Dead" (not on DVD) still found in heavy circulation on TV, maybe this 1973 thriller isn't far off.

Stay tuned for more lists later and again, I welcome your input for future creations.

Weekend Roundup

Sauna

Oblique. Unsettling. Grim. Just a few words to describe this Finnish-Russian horror film that has stayed with me much longer than anticipated. Given a bit of steam last year when it played at the Toronto Film Festival as well as Fantastic Fest, A.J. Annila's psychoanalytical (and metaphorical.. and allegorical) horror tale takes its time, yet it's the type of scary movie that relies on atmosphere and ideas to burrow beneath your skin. Following the end of the 25 year war, a group of Swedish and Russian soldiers are given the task of mapping out a new boundary between the countries in the late 16th century. Eerik (Ville Vertanen) and Knut (Tommi Eronen) are brothers. Eerik is having a difficult time dealing with the peace that now exists between the countries. As they venture further into the heavily wooded wilderness, strange occurrences start happening, not the least of which may be tied to the gruesome acts Eerik has committed in the past. A woman keeps re-appearing to Knut from a distance. A dead fox is discovered with its eyes clawed out. Compasses inevitable lead the group into a large swamp area where they encounter a village full of people and a cement sauna that seems to be calling various members of the expedition. All of this is handled with extreme patience and dread by director Annila. The soundtrack is soon overtaken by low droning sounds... the camera often holds on a dark doorway for what feels like unbearable moments... the scares (when they do come) are fast and unnerving. "Sauna" is the type of horror film that rewards the more adventurous viewers. Several conclusions can be drawn from the film, and I'm still mulling over many of its suggested intentions. I've said it before and it's worth repeating: the best horror films are being produced overseas, and "Sauna" is the prime example.

The Girlfriend Experience

I stand amazed at the prolific career of Steven Soderbergh. While not all of his films always hit their mark with me (see this year's "Che"), his ability to sneak through genre, tone and ideas in such a quick way is admirable. His latest venture, "The Girlfriend Experience" is like a Godardian return-to-zero film. It doesn't amount to much as a whole, but on reflection, the ideas he hints at and the nonchalant, glacial performance of porn star Sasha Grey exert a calming power amidst a dazzling visual scheme. Obscuring any real emotions, often filming the speaking person from behind or off-screen (where we simply hear the voice and are forced to place it within the timeline of the narrative), and emphasizing background glass and space instead of his actors...."The Girlfriend Experience" continues Soderbergh's fascination with a person's overall presence in the world rather than hitting point A or B. Playing a high class escort, Grey nails the erotic side of her persona with a more human side, placing the narrative during last year's election when the presidency is oft-mentioned as well as the ensuing economic recession. In fact, for most of the film's initial scenes, we're given glimpses of Grey with her various clients where sex is often side barred and the conversation turns to the worries and anxiety of the downturn. Grey is relegated to the role of mother/psychiatrist, another clear indicator that Soderbergh is much more interested in ideas rather than the gimmicky attraction of "porn star" turned "mainstream actress". Thrown into the mix is a complicated relationship that exists between boyfriend Chris (Chris Santos) and Grey. He knows what she does, and seems fine with it. She comes home to him every night. But one client makes Grey see something in herself and feels they connect, and makes plan to go away with him for the weekend. This plot point enters fairly late in the film. The rest of "The Girlfriend Experience" is all hazy context, relaxed conversation, calculated long takes and editing that breaks time into a mosaic rhythm. Soderbergh (who relishes this type of filmmaking) makes it all relevant and incessantly watchable. A very good film.

Angels and Demons

It's surprising how much better a film can be when they drop the mullet from it's leading man. But seriously, Ron Howard's second adaptation of a Dan Brown religious gobbely-gook novel is brisk, well acted and stands to defy the viewer's hip expectations. Just when I thought I had everything figured out, the film shifts its perspective and a new meaning opens up. Tom Hanks reprises his role as Professor Langdon, the uber-scholar on all things mysterious and secret in the world- this time his target is the always interesting idea of the Illuminati- and "Angels and Demons" hones its sights on the scathingly violent power clash that erupts within the Catholic church after the Pope dies. A group of Cardinals (led by the always estimable Armin Mueller Stahl) shuffles about like dons of a mafia family and a hit man runs rampant on the streets of Rome casually and methodically eliminating any carabineri who crosses his path. There are plenty of possible eye-rolling moments, but I found myself swept up in the film's mad dash for ancient statues, fire-and-brimstone-clues and engaging performances. One has to carry a certain affinity for this type of film (aka the avid listener of, say, Coast to Coast nightly) and I dug it.

On Jon Brion

One of the major regrets from my recent trip to sunny Los Angeles was not taking advantage of the recurring Friday night show that film composer Jon Brion hosts at The Largo. Sometimes a solo show, and other times with unexpected 'friends' playing along, all the chatter I've heard about this event seems like a joyous occasion.

I first came into the musical stylings of Brion through the films of P.T. Anderson. Thematically bold and visually arresting, Anderson's films also contained a pulsating heart and tempo provided by the (often) otherworldly and esoteric sounds of Brion. As a member of several 80's new wave bands such as The Bats and 'Til Tuesday with Aimee Mann, Brion eventually settled for session work. His collaborations with Anderson (which, I feel, hit a high note with 1999's "Magnolia) immediately pushed him into the ranks of the great experimental musical composers. Since then, Brion has gone on to create the soundtracks for Michel Gondry's "Eternal Sunshine of the Spotless Mind", Charlie Kaufman's "Synechdoce New York" and mainstream fare such as "Step Brothers".

At times lush... at times bizarre (as in "Punch Drunk Love"), Brion's music seems to key into the subconscious musings of the film's various troubled characters. It seems no surprise that most of Brion's music accompanies characters who live (or retreat) inside their own minds. Brion's music feels like the contemplative tunes that we hum inside our heads to wile away the hours and minutes.

It can be tense and violent:



It can be mournful and steeped in regret:



It can instill melancholy or remind us of home:



And it can certainly feel light on its feet:



But, Brion's best work has to be his latest. Charlie Kaufman's "Synechdoce New York" is a.... heavy film to say the least. Infuriating, dense, playful and supremely in love with its own excess, it lands somewhere between colossal failure and preeminent American art house genius. I still haven't figured it out yet after two viewings. But, on the second viewing (after I knew what was coming) it began to crystallize a bit and I felt something precisely at the point that Philip Seymour Hoffman's unending artistic gesture folds in on itself and his doppelganger (Tom Noonan) re-enacts a fateful moment in Hoffman's own life. What follows the tragedy is extreme humor ("but I didn't actually jump!") and Kaufman strikes at the deep marrow of living, growing old and facing ourselves in the mirror. It's quite moving, supported by the aching tune of Jon Brion that begins to underscore the remainder of the film:



This is a real soundtrack. Music that deepens and enriches the image. I could listen to this theme over and over (and already have). Among film composers, only a select few have the power to elicit distinct emotions separate from the image. It's a great power to have, and Jon Brion exacts this power with each and every film he tackles. And as for the live show in Los Angeles, there will be more trips lined up in the future and hopefully he'll be right there for the next one hundred Friday nights.

Random Images From A California Tourist

And we saw "Star Trek" in the heart of Universal Studios IMAX theater. MUCH better than expected. It opens with a bang and ends with a bang. Two hours just zips by. Now, if we could only do something about that damn cut every second during a fight scene....

What's In the Netflix Queue #23

With quite a few days worth of vacation and travel coming up, the movies coming to me will experience a delay. Nonetheless, the next ten titles:

1. Tough Guys Don't Dance- One of writer Norman Mailer's directing gigs starring Ryan O' Neal and Isabella Rossellini. I can't say I've seen any of Mailer's directorial efforts.
2. Sunday Bloody Sunday- John Schlesinger's sexual chess game starring Peter Finch and Glenda Jackson.
3. Spiders- Thanks to some ongoing discussion at The Listening Ear blog about Fritz Lang, I've decide to delve into his work. I've seen the highpoints ("M", Fury") but, sadly, long overdue for everything else he's done. Time to remedy that. Starting towards the beginning, this film from 1919 is "the earliest surviving film of Metropolis director Fritz Lang. The Spiders represents the first two chapters of a planned four-part serial (the final two parts were never made). Armed with a secret map, adventurer Kai Hoog (Carl de Vogt as a silent version of Indiana Jones) battles gangsters and femme fatales to find an Incan treasure. The film, which co-stars Lil Dagover (Cabinet of Dr. Caligari), was thought lost until its 1978 restoration."
4. Chinese Coffee- This is real oddity. Directed by Al Pacino and essentially a two-actor character study (with Jerry Orbach), I've never heard of it. I admired Pacino's other directorial work "Looking For Richard" so it's worth a shot.
5. Blind Mountain- Lang Yi's other "blind" film named "Blind Shaft" was an engrossing side of Chinese life about down and out mine shaft workers. This one is described as "The promise of a good-paying job lures a young Chinese woman into a horrifying predicament in this drama. College student Bai Xuemei (Lu Huang) awakens in a remote village to find she's been sold into a marriage that is slavery in disguise. Her resistance to the repulsive "husband" and his family only results in beatings and rape. With hope running out and allies few, Bai undertakes one final dramatic stand against her oppressors." Li obviously trades in depression!
6. Night Shift- Ron Howard is very hit and miss with me. I really love some things (The Missing", "Parenthood", "Gung Ho" and "The Paper") and then a total "meh" shades so much of his other work ("Frost/Nixon", "A Beautiful Mind", "Ed TV"), but this is early 80's Howard with Michael Keaton. As a kid, I think I watched "Night Shift" on late night TV, but does that really count if it doesn't stick with you?
7. The Testament of Dr. Mabuse- Second Fritz Lang film.
8. Wrong Is Right- This is one of those films you find when searching through an actor's name on Netflix. This one stars Sean Connery and it's described as the following: "Sean Connery (burlesquing his own super-cool image) is a globetrotting television correspondent who uncovers a terrorist plot to sell a nuclear bomb to a Middle Eastern country. The plan has a ripple effect all the way up to the U.S. president, his prime political opponent and a swaggering general who's too cocky for his -- and his country's -- own good. Directed by Richard Brooks, the movie co-stars Rosalind Cash and Robert Conrad."
9. Spies- Third Fritz lang film from late 20's about a banker trying to overthrow the government and the couple trying to stop him.
10. Four Flies on Gray Velvet- Recently released Dario Argento film. I'll watch anything he does.

One Scene Wonders

Jason Bateman: State of Play

I went into Kevin MacDonald's "State Of Play" with some reservations. Based on an original BBC series (which I really, really liked), here was a movie forced to condense five hours into a slim two. The patience, details, and room to breathe that the miniseries format provides might get lost in translation. And, yes, while the latest Hollywood version does lose some of its steam, it's still a solidly crafted effort that manages to deliver a few sucker punches to the now antiquated world of paper press and generate some nice performances from all involved.

But something with gravity happened in the final third of the film- the two scene brilliance of Jason Bateman as Dominic Foy, a sexually ambiguous, flamboyant and snide PR rep who helps put the pieces in place of the swirling narrative. It's not only a fun performance in the beginning, but Bateman turns on a dime and reveals a character full of rage and guilt that comes seeping out in a dingy motel room. If Viola Davis can garner a supporting actress nomination for two stellar scenes in last year's "Doubt", there's certainly room for a potential nod for Bateman.

The character of Foy served as one of the more intriguing portions of the original series. Hunted down and eventually interviewed by a tabloid reporter (James McAvoy) working the death of Anne Collins independently, the strand served as a diametric collision of methods and ideas between 'real' journalism and trash press. Director MacDonald keeps the emotional power of the reveal intact, but its Bateman who elevates the core of Foy into something genuinely tragic and visceral. In no short words, this is a performance that defines exactly what supporting acting should look like.

Fight Club

Dito Montiel's sophomore film, "Fighting", is just as electric and startling as his debut 2006 effort, "A Guide To Recognizing Your Saints"... and I was still the only one in the theater on both occasions. Whether it's the film's premise of underground fighting or the lackluster advertising, another Montiel film is relegated to eventual seek-and-find status on home video- a bleak outlook for such a gifted and realized young director.

Starring his now apparent alter-ego Channing Tatum, "Fighting" holds a simple premise that unfolds in natural and unhurried fashion. Struggling for cash daily, selling bootleg Harry Potter books and Video Ipods on the street for $20, Tatum plays Sean MacArthur. One day, after a failed attempt to steal his stash of already probably stolen merchandise, Sean meets Harvey (a deceptively good Terrence Howard with a true 70's cinema name). Harvey realizes the raw talent in Sean to defend himself with his knuckles and the two soon develop a friendship that includes the entry into the high stakes world of underground fighting- although "underground" is a relative term since every fight is a distinguishable and unique setting perched somewhere high (or dark) in and around New York City. Along the way, Sean meets Zulay (Zulay Henao), a struggling waitress in a high class bar and the two form a relationship. Also embedded in this survival story are some illusions to Sean's volatile past, which eventually manifests itself in a fight between an old friend.


With just two films under his belt, I'm fully ready to proclaim writer/director Dito Montiel as a young autuer in the making. Both films reveal a talent beneath the surface that's boiling to create something truly great. In "Fighting", he takes the well-worn genre of the masculine showdown movie (think horrid teen precursors like "Never Back Down") and turns it inside out, developing smart characters and tender interactions between Sean and Zulay that far exceed the genre's usual play-by-numbers approach. As a director of actors, Montiel seems to already have that figured out as well. The initial meeting between Howard and Tatum on the street is handled with intelligence. Just watch how Harvey tenuously keeps his distance from Sean, clearly laying out his expectations. It's a small moment, but one that feels very true. Likewise, Montiel is adept at displaying the awkward fits and starts that encircles every relationship at the beginning. The scenes between Zulay and Tatum are wonderful. The framing from outside a cramped NY apartment window as the two carry on a late night conversation.... the nervousness in an apartment stairway... Montiel has already made a burgeoning career of young love developing on fire escapes and hallways and it all feels so right.


And then there's the fighting... the part of the film which is sure to bring in over 90% of the crowd. It's visceral. It means something. Very few films can capture the escalating moral or metaphysical consequences of their finale. P.T. Anderson's "There Will Be Blood" does it. Spike's Lee's "He Got Game" does it best. Montiel's "Fighting" is very close. It's bone crushing and stark, but it's win or lose outcome envelops the whole thing which only increases the audience's tension level and validates that Montiel has crafted a film that resonates on several levels.

Cinema Obscura: TimeCrimes

Nacho Vigalondo's "TimeCrimes" made a small splash in cult cinema circles last year, most notably from its inclusion in Fantastic Fest hosted by Ain't It Cool News. Granted, anytime a small independent film chooses as its subject time travel, the accolades come hard and fast due to the film's scruffy, intellectualized subject (see "Primer" from a few years'a go... a film whose praise was lost on me after finally seeing the film's baffling concept. It was filmed in Dallas though) But Vigalondo's film does deserve the praise. Visually unoriginal (since it was filmed for Spanish TV), "TimeCrimes" relies on a twisting, highly original idea to carry the film for its brisk but near perfect 95 minutes. I suppose if you think too hard on the film's structure, a few plot holes exist her and there. But really, what time travel idea isn't riddled with holes? "TimeCrimes" mounts doppelganger upon doppleganger until the film begins to hurt the brain as the viewer hastily tries to piece together the various timelines and switcheroos. It's all terribly exciting and handled with restrained tempo by Vigalondo through careful camera composition and an unnerving sound design.

Without going into too much plot detail, "TimeCrimes" loops some very serious questions around it's heady time travel scenario. What would we do if we were seemingly invisible and adverse to cause and effect? Are we destined to repeat our circumstances or do we have the power to change the seemingly hidden pull towards the inevitable? As Hector (Karra Elejalde), one of only 4 characters in the film, the beating compass of morality and choice lies with him. After a serene opening in which he and his wife have moved into a new house in the country, he takes up gazing across his backyard with a pair of binoculars. A few minutes later, he's beginning to become wrapped up into a mystery that echoes the razor sharp economy of image and sound inherent in Hitchcock's cinema of voyeurism. He sees a half naked girl posing for him. A wrecked vehicle. And Hector eventually comes face to face with a looming figure, complete with bloody-bandaged face and all, who forces a game of hide and seek through the woods. From there, "TimeCrimes" opens up a pandora's box of future and past timelines as Hector desperately tries to erase and manipulate the horrific events.

Based on one short film and now "TimeCrimes", it's clear the wave of Spanish invention in cinema is far from over. Del Toro, Amenenbar, Bayona... these guys are taking up the genre picture (horro and sci-fi specifically) and churning out refreshing spins that continue to grow upon repeat viewings. Now add "Time Crimes" to that list. I look forward to whatever Vigalondo does next.

2 Minutes To Stardom

Imagine this scenario. You're part of an indie rock group that's been playing the fringes of the big-time for several years now. An appearance at SXSW once. A late night Coachella venue. You have some hometown notoriety. You've produced a few records on a local label and are subject to a growing (but cultish) following. Then, a movie studio uses your song in a trailer for one of their upcoming movies and, suddenly, the rivers are parted and you're the 'next big thing'.

Several bands certainly call that fictional scenario a reality. Case in point: Montreal indie band The Arcade Fire. Now, I'm not suggesting that The Arcade Fire needed any help. They were already far along their path to international success before Warner Brothers prominently featured one of their best songs in the trailer for Spike Jonze's "Where the Wild Things Are". But listening to XM radio this week, they claimed that The Arcade Fire shot up very high in their Top 10 down loadable artists last week... the first time this band has been in such a list since debuting their masterwork album "Funeral" almost two years ago. How's that for instant regurgitated success? Part of me loves the idea that a two minute trailer spot can expose a well-loved niche band to the mainstream currents of pop culture. And then the musical snob in me recoils at the fact that this band- which I've regarded as a well kept secret for two years now- is finally being discovered by this same mainstream current.

Still, The Arcade Fire are not the first band destined for greatness via viral campaigning... and they certainly won't be the last. Indie bands are popping up on trailer spots all over the place. Muse (for it's placement in "The Watchmen"), Sigur Ros (for, take your pick of any number of trailers including the new Disney Earth or my personal favorite from "Children of Men") and MIA (Paper Planes) and Cat Power are some of the latest crop of artists to gain popularity from the movie industry. And then there are the X-Box video game spots which have added tons of new fans for bands like Devotchka and sent people scrambling for the various covers of the song Mad World. So what do we owe all of this? Is it studio and movie executives making a deal with the devil to even further proliferate their billions of dollars profit? Nah. Not likely. The simple answer... certain music lends itself naturally to visual images. How many times have you listened to a song and suddenly gotten flashes of a visual image that seems to rhythmically blend with the sound? Or is this just me? The common denominator in all these above mentioned trailers and ads is that the music does seem to enhance and embellish the images. Before the trailer, I really had no interest in seeing Jonze's latest. Now, my interest is piqued to say the least. Two minutes of success for the The Arcade Fire, and nine more dollars from my pocket to Warner Brothers later this year. Seems like a good trade-off, no?

Three

JCVD

Mabrouk El Mechri's "JCVD" falls squarely within the design of a film that could drown amidst its self-reflexive pretense. From the energetic opening shot (in which international action star Jean Cleade Van Damme flails and kicks his way through a long take of attacking soldiers), "JCVD" calls attention to itself as a sort of joke on filmmaking and the star's bigger than life personality. But "JCVD" also maintains some real heart and (gasp) acting chops from its leading man. Playing himself- albeit down on his luck, forging through a considerably painful custody battle over his daughter, and flat broke- Van Damme strolls into a post office where he's immediately caught up in a bank robbery. The film dances circles around the robbery, showing us the hostage situation and ensuing police negotiations from varying perspectives. Inter cut throughout the robbery are glimpses of Van Damme's personal troubles, handled with gentle humor and introspective flashes of brilliance such as a six minute monologue spoken directly to the camera in which Van Damme ruminates on his life as boy, drug addiction and the manic life of being a star. In certain situations, this scene could have come as leaden and overwrought. Van Damme and director El Mechri make it work. And the rest of the film works magically as well. We expect Van Damme to save the day... and part of the joke of "JCVD" is the realization that, like any other 'star', he's a fabricated personality that won't be able to save the day when reality crashes around them. And the final scene between Van Damme and his daughter is a stunner. See this film when possible.

Adventureland

It would seem almost too easy for a film like "Adventureland" not to fail. Add catchy 80's pop tunes by the likes of INXS, The Cure, Husker Du, toss in the improvisational comedy of Bill Hader and Kristin Wiig, star two energetic and likable young stars (Eisenberg and Stewart) and milk off the success of indie-rock tales such as last year's "Nick and Nora's Infinite Playlist" while treading closely to the Apatow brand. Well, "Adventureland" doesn't fail. In fact, it pretty much works itself out into a tender and low-key comedy-drama that distances itself from all the above cloying aspects. Written and directed by Greg Mottola- who finally has seemed to cash in on the buoyant pedigree started almost ten years ago with the fabulous "The Daytrippers", his debut- "Adventureland" is the smart telling of one young man's revelatory summer working at a Pennsylvania amusement park and finding himself in love for the first time. Of course, young love doesn't come easily- as we've all figured out. But what Mottola captures is something special... the way he films the hands of Stewart and Eisenberg touching as they kiss..... the little lean-in he does underneath a sky of fireworks.... and the precise comic timing of Martin Starr as he yells out "ow... that was a whole corn dog!"... everything fits and describes a carefully understood time and place. "Adventureland" is the type of film that makes one reminisce about their own awkward staggerings through young love, and for me it even brought back a rush of sounds and feelings. And, the final scene stands as one of the most uplifting and breathless endings in quite a while.

Observe and Report

A vulgar, white trash karate instructor. A mall cop with delusions of grandeur; Granted, the anti-heroes in Jody Hill's darkly cynical worldview of "The Foot Fist Way" and now "Observe and Report" don't beg for our sympathies or kinship.... but they're still loners at the fringes of society who ask us to laugh at their increasingly morbid and icky stabs at normalcy. I don't find either one that incredibly funny, but I do admire the go-for-broke attitude that "Observe and Report" displays on mainstream American films. While Seth Rogen's bipolar mall cop asks that we suspend disbelief that any company would keep the guy employed after his first altercation with police officer Ray Liotta, maybe this whole film takes place in his delusional head. That's the only reason I can find for it's inconsistent tone and complete alliance with characters who propel the myth that brain-dead white trash is still funny long after "Reno 911" and "Talladega Nights" have run their course.

I really hate the path most modern comedies take. Everything is broken down into two camps: the improvisational comedy that stretches itself into unfunny oblivion (see any Will Ferrell movie) or gimmicky crotch shots (see "Observe and Report"). When a comedy comes along that understands the value of comedic timing, I get excited. "Observe and Report" is a prime example of a comedy that tries to push the envelope and loses sight of its small goals. The funniest part of the 100 minute movie? A small exchange in the beginning of the film- being interviewed by a local reporter, she calls Rogen mall security. He lashes back with a string of profanities and tells her he's head of mall security. When she continues the interview, he asks her "you still wanna continue after you f'ed up my title? Ok, I'm standing here being interviewed by this doctor..." Rogen's reading and the set-up has the rhythm of a well told joke, but the rest of the film is wasted in ugly portraits of drunken mothers, pervert co-workers and clueless police men who show up like keystone cops. If only the rest of "Observe and Report" had been as sharp as that exchange, we might have something. Instead, director Hill has taken the path of prankster who refuses to believe there's any intelligence in this world.

On Mad Detective

If I haven't stated it enough over the past couple of years on this blog, Johnny To is one of the most prolific and creative Asian directors working today. And when I say prolific, I mean it. Since the fall of last year, he's got three films in various stages of release. I'm still waiting on his well-received film "Sparrow" which has been cited as an extremely savvy and entertaining portrait of a group of pickpockets. His latest film, Vengeance, just received a very cool trailer this week and count me in!

Somewhere in-between the above films, "Mad Detective" circulated on the festival rounds last year and I finally got a chance to see it. Those unfamiliar with To's work should know his films are often poised between two distinct types- there are his hyper-stylistic gangster films such as his "Election" films, "Exiled" and "Full Time Killer" and then the more playful genre films such as "Throwdown", "Yesterday Once More" and "Running On Karma". "Mad Detective" falls soundly in the latter category. Ching Wan Lau, To's alter ego, stars as detective Bun who uses his magical ability to place himself in the shoes of a killer and re-enact the crime with perfect clarity. After a nervous breakdown (in which he slices off his ear and gives it to the police chief as a retirement gift), Bun leaves the force. Inspector Ho (Andy On) takes over his duties, but finds himself seeking out Bun when two cops on a stakeout chase a suspect and one of the cops never returns. But, really, I'm leaving out the most entertaining aspects of this film. "Mad Detective" continually questions the sanity of Bun, along the way revealing to us that he not only uses his ESP-like abilities to solve crimes, but he can see the inner person of everyone he meets. This becomes increasingly important when the partner of the missing cop enters the scene and Bun identifes six seperate personalities within him. It's this type of vibrant and alarming lunacy that propels the films of Johnny To, threatening to sink the whole thing, yet he always maintains a firm and fantastical edge. Case in point- in one scene Bun and Ho go out to dinner and Bun constantly talks to his wife, only visible to him.... and when Bun decides to jump on Ho's motorcycle and give her a quick ride, To frames both of them on the bike, speeding along with huge smiles on their faces. Whether it's real or not, it's these types of bullient moments that infuses To's films with a go-for-broke freedom that fills me with so much joy.

"Mad Detective" also carries on some of the usual tropes in a To film. One of the major plot points revolves around the missing service revolver of a police officer.... a device brought to lucid realization by Kurosawa's "Stray Dog" in the late 40's and a recurring idea in several Johhny To films. And, not one to deviate from the violent and balletic displays of gunfire, "Mad Detective" serves up a finale shoot-out in a hall of mirrors that loudly reverberates the prismatic shades of its main character's mind. Part of the enormous fun of a Johnny To film is the wild and chaotic shifts in mood and tone that come at you feverishly. If you're not digging the vibe, give it a minute and it might change. "Mad Detective" does this with abandon. And the final scene, as Inspector Ho wanders the room trying to get something right, To raises a significant question- where does right and wrong in our police officers start and end?

Day 3- French New Wave Blogathon

Others are beginning to join in the fun:

Bourgeoiss Surrender contemplates his initial thoughts on the French New Wave, or the "Great Thing" as he calls it.

Sam at The Listening Ear takes a critical look at the French New Wave and dissects it into some very interesting points. Sam follows it up with a second post about one of my personal fav New Wave films, Godard's "Breathless".

Day 1- French New Wave Blogathon

Jump cut. That small, relatively unknown term is what led me to the filmmakers of the French New Wave. I read it somewhere in relation to the films of Martin Scorsese... a simple editing trick that speeds up time but quickly became the hallmark for a loose, electric type of French filmmaking that was beginning to grow from murmurs across the ocean into chorus waves of critical praise. The name Jean Luc Godard and Francious Truffaut kept creeping up. I had to see what this was all about. I went to the local video stores (yes, VHS copies, this was before DVD) and saw one title from the lackluster "foreign" film section with the name Godard on it. I rented it, took it home and this was what I saw:



I was hooked. The way the camera breaks the fourth wall, Georges Delerue's lush and evocative score (which still stands as my favorite of all time) and the totally superfluous lens changes as the camera lovingly traces over Brigitte Bardot's flawless body. This was cinema pertaining to style and mood, with a little story thrown in for good measure. I'd never seen or felt anything quite like it. Truffaut's "Jules and Jim" and "Shoot the Piano Player" were next. Which led me to Jean Pierre Melville. Which led me back to Godard's "Breathless". Which led me to 45 plus films of Claude Chabrol. And with each new venture, I could feel my wonder and amazement evolving as if I'd discovered something highly secretive. This "love affair", if you will, with the French New Wave continues even today. There are times when I recognize a stolen moment or idea from one of the nouvelle vague greats... and I always smile. 50 years plus, and those lightning bolts of cinema still produce charges of greatness.

There are film movements today that almost rival the energy of the French New Wave. Asian cinema, in particular, continues to ebb and flow with true masters (Johnnie To and Chan Wook Park) while the newly christened Romanian film scene is emerging as a force to be reckoned with- if only it contained more than 5 or 6 features. But the French New wave were different. The original 'film brats' (who mostly wrote and devoured movies and prodded hidden/unrecognized gems of brilliance from the studio films of Hollywood) they understood the rules... which in turn gave them permission to break them. They unleased a flurry of playful ideas based in the old genre tropes. We need disruptive voices such as these to keep things fresh, extroverted and creative. For the French New Wave, nothing else than those words applies.

Blogathon Reminder

Tomorrow begins the French New Wave blogathon. If you'd like to participate, simply comment and post a link or you can e-mail me at Henryhill51@aol.com. The blogathon will run Thursday April 9th through Sunday April 12th. I'll update daily.

Thank Goodness....

... that's it's time for this again:



And, for the first time ever, the fantasy league bug has bitten my friend Chris and I. My line-up is as follows:

C- Joe Mauer
1B- Adam LaRoche
2B- Placido Polanco
3B- Pedro Feliz
SS- Rafael Furcal
3B/SS- Michael Young
3B/SS- Joe Crede
OF- Carlos Quentin
OF- Jacoby Ellsbury
OF- David Murphy
OF- Jim Edmonds
OF- Hideki Matsui
Util- David DeJesus
P- Daisuke Matsuzaka
P- Scott Kazmir
P- Francisco Rodriguez
P- Cliff Lee
P- Edinson Volquez
P- Matt Garza
P- Troy Percival
P- Justin Masterson
P- Jered Weaver


I have to admit. This has been fun. From the draft (which, I quickly learned must be taken seriously and forced me to put down my beer and concentrate) to arranging the roster for opening day, any true baseball fan will get undeniable joy from it. Crunching numbers... keeping up with DL reports... playing the odds on when to sub in your bench players... it keeps you greatly invested. Granted, my list is a bit American League heavy (Rangers fan, remember) and I think I need to stretch myself more next time and expand my knowledge on NL players, but I look forward to enjoying the baseball season a little more this year. Oh yea... and I got Matsui!

Great World of Sound: Beirut

I've just finished listening to the first great album of the year- Beirut's "March of the Zapotec/Real People". Beirut is really just the brainchild of young singer Zach Condon. Influenced by Eastern European "folk" music (much like Denver band DeVotchKa), Condon's latest installment of smart and get-under-the-skin sounds is a magisterial blend of two divisive types of music. The first half resembles his earlier sounds on "The Gulag Orkestar" and "The Flying Club Cup"- a crashing (but completely moving) blend of horns, violins and Arcade Fire-like makeshift instruments. The second half of his latest EP (the RealPeople section) dives deep into low-key electronica. Blink and you may think it's Thom Yorke singing.... but Condon is a unique individual whose voice pierces whatever sound he chooses to infuse into his eclectic mix. It's all wonderful and sublime.

Here's a sample from the RealPeople section of the album, my favorite song on the record titled "Venice".



And just in case the above track misleads anyone into Beirut's music, here's a more traditional and representative taste of their music:



Beirut only has three albums out, so do yourself and favor and catch up quick.