Another brilliant album from The Antlers. This track has been on autoplay for about 3 days now....
Wednesday, June 29, 2011
Monday, June 27, 2011
An Appreciation: John Huston
Six or seven months in the making....
The Maltese Falcon (1941) ***½- A young filmmaker could only hope for a debut film this assured and now well renowned. Humphrey Bogart chews the scenery as Sam Spade, one of a handful of people desperately chasing a priceless artifact, and one gets the sense of cinema’s hardboiled love affair beginning right before our eyes.
Across the Pacific (1942) ***- Lingering on the calendar dates of November, 1941, and then eventually December 6 of the same year, “Across the Pacific” certainly takes on an air of failed mortality as Bogart tries to expose international spies on an Atlantic liner. It’s as if the whole affair is for naught, and for a film in the early 40’s this pessimism is certainly refreshing. Sydney Greenstreet and Mary Astor again join Huston in a film that has Bogart playing the good guy trying to unmask some devious anti-American sorts. Part bubbly romance and eventually action-thriller, “Across the Pacific” features two or three great set pieces (a long shot over and around the cruise liner as the characters meet and a movie theater shootout) that showcase Huston’s growing confidence behind the camera.
In This Our Life (1942) ***- Bette Davis is a malevolent home wrecker in this Tennessee Williams-like family chamber drama, but I’ll take Olivia de Havilland as the gentle sister any day of the week. It’s hard for a director to really place his stamp on such an ordinary drama as this, but there are flashes of ‘auetership’ in the beginning as his camera rolls, pans and follows people around as the characters are established. Bette Davis tears up the screen (and her own family) by stealing husbands and driving fast, and that alone creates a manic sense of tempo in the film that feels refreshing for the early 40’s.
Report From the Aleutians (1943) **- One of two documentaries Huston made for the United States military (the other was a less flattering portrait of mentally wounded and handicapped soldiers recovering in various hospitals), “Report From the Aleutians” is certainly a rah-rah attempt to educate and enlighten the masses about our brave fighting boys stationed in the remote parts of the Northwest. There’s nothing really wrong with this documentary, but its standard history channel fare with little distinction from Huston behind the camera save his gruff voice over.
On Our Merry Way (1948) **- It’s debatable how much involvement Huston really had in making this episodic comedy, but I’ll include it anyway. Burgess Meredith plays a menial paper employee who stumbles into the chance to be the “Roving Reporter” for the day and ask a seemingly banal question to innocent bystanders. Their answers open the film out into memories and myth making, the best of which features the dashing duo of James Stewart and Henry Fonda as broke jazz musicians telling their tale. There’s nothing really unique about the film…. Its amiable and straightforward.
Treasure of the Sierra Madre (1948) ****- Huston’s first real masterpiece in my opinion… a brilliant deconstruction of greed bracketed against the western genre with enough scenes and dialogue to penetrate throughout film for the next 60 years. Every time I watch it today, the money blowing in the wind is a confident coda to a sure handed film that seems to exceed its modest ideas.
Key Largo (1948) ***1/2- In my early days of film-watching (and dipping my toes in the waters of film noir) “Key Largo” was one of the seminal viewings, a gangster film that plays out like a Broadway play as the screws slowly tighten around the confined setting of a hotel. Edward Robinson is menacing as the gangster on the run, holed up against Humphrey Bogart, both men chewing the scenery with gusto. Oh, and there’s a hurricane approaching…. peripheral catastrophe that parallels the inner psychological terror of the film’s protagonists and would serve as a recurring motif in American cinema for years. The very fact that Huston helmed two groundbreaking films in the same year is still mind boggling.
We Were Strangers (1949) ***1/2- Involving romance between native Cuban girl(Jennifer Jones) and American freedom fighter (John Garfield) during the growing days of Communism in Cuba. Jones provides the house for Garfield and his comrades to dig a tunnel across the street in hopes of blowing up important political officials. With “The Treasure of Sierra Madre”, Huston has lots of fun covering his male stars in dirt and grime and one can sense his evocative use of close-up beginning to take shape. There’s also an incredible 4 minute shoot out scene at the end with the ‘Tommy gun’ bursts lighting up the scene and Huston perching his camera just behind Garfield and yes, Jones herself as she takes over the gun at times. I’d say Michael Mann is a huge fan of this film. Probably the unsung surprise of Huston’s career.
The Asphalt Jungle (1950) ****- Trendsetting heist film that boats so many great characteristics: the almost wordless, music-less ten minute diamond robbery, shrewd cutting, moody cinematography and a brilliant (almost effortless) tough guy performance by Sterling Hayden. Produced in 1950, perhaps the most accomplished thing about “The Asphalt Jungle” is that Huston got this film made after the halcyon days of film noir while still being able to carve out something organic and fresh. Clearly an influence on the French New Wave and “Rififfi” some five years later, “The Asphalt Jungle” immerses one in the underworld where the biggest challenge is not committing the crime, but getting away with it- as the film’s four main characters soon find out. As the anti-hero, robber and hooligan Hayden kind of makes one hope he gets away, with cynical dialogue that mirrors the subversive tone of the entire film blaming the stench and concrete claustrophobia of the city for his desperate actions. In every regard, “The Asphalt Jungle” is a film that deserves to be studied and admired. Oh, and not only does it feature a young and stunning Marilyn Monroe, but the final shot ranks as probably the best in Huston’s long career.
The Red Badge of Courage (1951) *½- Based on the classic novel about a youth finding his courage during the battles of the Civil War, this is an admirable telling that gets mired down in dispassionate, stock characters and a few too many “gol darns” and “jim-dandys” for me.
The African Queen (1951) **- Regarded as a classic, yes, but I just found the story of Bogart and Hepburn trapped in a small boat trying to defeat a German ship a bit on the slow side. It feels creaky, rusty and too old fashioned at every turn… a commercial venture without any real heart. Newly released to DVD after years of anticipation, this was a let down.
Moulin Rouge (1952) ***- Lush telling of Paris artist Henri Toulouse-Letrac and his relationship with a cantankerous prostitute. The opening scenes, which take place in the infamous Moulin Rouge hot spot of Paris, invoke great energy, full of a roving camera that glides, pans and swirls. The remainder of the film slows a bit but is just as involving as the lonely, physically disfigured Lautrec (Jose Ferrer) sours on life and love. While the Moulin Rouge itself is used a cinematic reminder of happier, carefree days, Huston’s film is more concerned with the inner demons of a struggling artist rather than the boisterous, musical roots exemplified in Baz Luhrman’s later update. The script by Huston, based on Pierre La Mure’s novel, swells into speech making at times, delivered with gusto by Ferrer, Zsa Zsa Gabor and others. And one cinematic trick- editing a myriad of sketches and artwork, timed to the music- feels quite revolutionary for the time, mimicked time and again by future filmmakers.
Beat the Devil (1953) **½- For the early 50’s this black comedy could almost be considered an independent, financed by an offshore company and featuring some dimly lit, cheap looking photography. It also stars Humphrey Bogart just a few years before his death, and the sickness was (visibly) already taking its toll. Not a bad film by any stretch of the imagination- Truman Capote’s script and Huston’s dry wit are on full display throughout the film’s twisting narrative about five criminals stuck in limbo with a proper British couple as they await to strike it rich in an African country through nefarious means. After a few years of producing some serious minded flicks, “Beat the Devil” feels like a stress-reliever for Huston and not much more.
Moby Dick (1956) ***- Exquisite cinematography and a manic performance from Gregory Peck send this adaptation of the Herman Melville novel over the top in a good way. Often times, the central idea of a great novel get lost in the translation, but the searing obsession shown by Captain Ahab in the novel (as well as the contagious insanity onto the crew) is maintained by Huston, giving the film its purpose. Though it’s a bit ‘stagey’ at times (see the early scene of Orson Welles as a preacher who obviously loves the sound of his own voice), the finale is rousing. Yes, it’s all models and trick photography, but done magnificently.
Heaven Knows, Mr. Allison (1957) ***- Besides the gruff machismo and penchant for adventurous locations, there’s another theme that’s becoming evident in Huston’s work- that of the incongruous relationships between man and woman. On full display in films such as “The African Queen” and “We Were Strangers”, this time Huston pits the divide between innocent, isolated nun Deborah Kerr and the very New Yawkish World War II soldier Robert Mitchum. As a soldier who washes up on the lonely Japanese island, Mitchum hams up the Americanism a bit much, yet there’s viable chemistry between him and Kerr. The walls built up around both personalities are believable, and when the Japanese Army arrives on the island and begins to systematically search it for deserters, “Heaven Knows Mr. Allison” becomes a taut tale of survival.
The Barbarian and the Geisha (1958) **- John Ford as the first American consult to the shores of Japan in the 1850’s continues Huston’s fascination with exotic locales. It’s hard to make Japan’s history of paper- mache lanterns and garish colors boring, and the film does look incredible, but the central relationship between Wayne and a geisha girl (Eiko Ando) is extremely wooden. Also, the presentation of the culture clash between the jingoistic Wayne and the protected lifestyles of the Japanese villagers is less than intriguing with lines like “they can’t pronounce the letter L”. Honestly, I’m not a huge fan of Wayne’s acting style and it comes off as even more one-note here… as if he stepped off the last John Ford western and didn’t miss a beat in refurbishing the same hard nosed character to a story that certainly needed more introspection and humility. Not available on DVD
The Roots of Heaven (1958) **- Odd obsession film starring Errol Flynn as the self appointed protector of the wild elephant in Africa. Not always a success, two things really stand out- the wonderfully composed dryness of the African deserts and the lovely visage of Juliette Greco as the local barmaid who falls under Flynn’s madcap spell. Not available on DVD
The Unforgiven (1960) **- Taken as a direct subversion of John Ford’s “The Searchers”, the ideas in Huston’s “The Unforgiven” are quite majestic: instead of the obsessive quest to redeem a white girl from her Indian captives, Burt Lancaster and his family fight for the protection of an Indian woman secretly harbored by their father for many years. Audrey Hepburn, as the woman in question, is simply stunning here and the moment she fires a gun point blank into the chest of an oncoming attacker, one really feels the essence of her psychological burden. It’s just that so much of the remainder of the film trades in arcane stereotypes and lazy ham-fisted acting. And it just always bothers me when a film supposedly set in Texas highlights the mountains all around the actors. Not on DVD.
The Misfits (1961) ****- An intimate, delicate four character study starring Marilyn Monroe as a recently divorced woman who throws caution to the wind and hangs out with two cowboys (Clark Gable and Eli Wallach) outside Reno, Nevada. A relationship forms between her and Gable to the jealous dismay of Walach. Then enter a third cowboy played by Montgomery Clift. Much has been made about the ominous overtones of real life with three of the film’s stars passing away so soon after wrap, but “The Misfits” is a masterpiece, and probably the film in Huston’s career that gets the least attention for its immaculate story and wonderfully moody black and white images. Each actor gets their stellar scene, especially Clift with a phone booth monologue that’s equally morbid and heartbreaking. The final thirty minutes, involving a wild mustang roundup in the Nevada desert, is Huston at his most magisterial, acting as a metaphor for the characters and a swirling display of emotion, camera movement and screenwriting.
The List of Adrian Messenger (1962) *½- This is a film with so much promise that ultimately winds up as nothing more than a gimmicky all-star affair… something the 60’s were great at producing. A man winds up dead after a plane crash and a family friend (George C. Scott) uncovers a long list of murders associated with the dead man and his war days. Kirk Douglas, Tony Curtis, Frank Sinatra and Burt Lancaster all parade through the film wearing heavy disguises, giving us red herrings and motives for the murders. I can certainly see the novelistic ideal of the cameos in 1962, but things wear old relatively quickly and by the time Huston winds down this somewhat drawn out affair, I really didn’t care who was guilty any longer. Not on DVD.
Freud (1962) ***- Huston's sorta long-lost biopic about the innovative psychoanalyst deserves attention. Starring Montgomery Clift as Freud, the film is a delicious mixture of weird dreams, muted sexual repression and detached analytical prose. This may sound like a train wreck, but it works. Clift's performance is a bit on the average side, but "Freud" excels in its ideas. It's a film basically split into two halves: the first part focuses on Freud discovering his "process" while the second half narrows in on the complex relationship between Freud and a young woman (Susannah York) as she deals with pent-up memories. Watch it along with David Cronenberg's "A Dangerous Method" for perverse fun.
Night of the Iguana (1964) **- Like most venerable directors still working in the early to mid-60’s, Huston deemed it necessary to venture into Tennessee Williams adaptation country with “The Night of the Iguana”. Starring Richard Burton as a recently defrocked priest living out a troubled lifestyle in exotic locations where beautiful young girls (like Sue Lyon) throw themselves at him, the film never really succeeds in involving the audience. From a script by Williams, the film does feature a simmering amount of sexual tension but its in the lazy execution and modest direction that “Night of the Iguana” fails to engage.
The Bible… In the Beginning (1966) *1/2- As with many of Huston’s films from the 1960‘s, there’s very little feeling in the work, opting instead for the blockbuster mentality with star power, and this film is probably the crest of that wave. Part of the joy in making this biblical epic, assuredly, was the chance to visualize the monumental stories of the Bible, and he does that with flying colors, establishing a vibrant mise-en-scene with large scale production design. But because we know these stories inside and out, there’s no narrative tension and the entire effort falls flat.
Casino Royale (1967) *- Huston was one of several other directors and limited to filming probably 1/8th of this two and a half hour James Bond spoof, but I’ll include it anyway because it’s so bad on so many levels- extremely dated, lifeless and visually flat. The idea of a spy spoof, especially starring Peter Sellers, has so much potential but its all wasted.
Reflections In A Golden Eye (1967) ***- An odd and completely unnerving drama that feels way ahead of its time. Allow me to synopses the plot: army commander (Marlon Brando) lives off the base with his wife (Elizabeth Taylor) in a hapless marriage while she openly carries on an affair with army captain neighbor (Brian Keith) whose mentally unstable wife (Julie Harris) locks herself away in a room with her Philipino manservant (Zorro David) and paints. Plus, a young Robert Forster sulks around Brando’s house at night, rides bareback naked during the day and elicits homosexual urges out of the repressed Brando. All of this is filmed in a (literally) golden saturated haze which generates more sense of unease around its hothouse summer atmosphere. Yet this atmosphere is the real pleasure of “Reflections In A Golden Eye”. The performances are just above average, but it’s the sinister feeling around Brando as he follows the young G.I. after a movie on the base or the masochistically symbolic attempt to punish himself by riding a wild horse through thorns and trees, then beating the horse within an inch of its life that sparks the perverse attitude of the whole effort. Watchable for Huston’s desire to create something completely different from anything else he’s ever done.
Sinful Davey (1969) *1/2- As the fast-talking roustabout and title character, John Hurt anchors this modest comedy that features some stunning Irish landscapes and bawdy humor. Running from authorities and old girlfriends alike, Hurt plays Davey, a low-rent thief who manages to get himself in trouble with the government wherever he goes. This feels like a breezy change of pace for Huston after several more ‘serious’ efforts, and any film that features a group of men using a midget’s head to crash through the prison ceiling above to get to the women’s section certainly qualifies as breezy. Not on DVD.
A Walk With Love and Death (1969) **- As a medieval allegory for the free love and hippie wandering of late 60’s America, “A Walk With Love and Death” is an alluring curiosity. As a strait-forward tale of young love between a traveling student (Assi Dayan) and the royal princess (Anjelica Huston) who falls in love with him, the film is an utter bore. Mixed in with the young couple’s travel across France and England during the 100 Years War are clumsily edited fight scenes between knights and peasants that resembles the awkward artificiality of Robert Bresson’s “Lancelot du Lac”- although the stilted actions in that far superior film are meant to be taken in stride. Under Huston’s direction, it all feels poorly put together and devoid of any real connection between Dayan and Angelica. Not on DVD.
The Kremlin Letter (1970) ****- I do hold a soft place in my heart for spy movies. While there's always room for the gaudy jet setting Bond adventures with its fantastic toys, ironic dialogue and cheeky performances, the spy movies that really get my heart racing are the more subdued, cerebral efforts. I think specifically of Martin Ritt's wonderful "The Spy Who Came In From the Cold" or Sidney Lumet's "The Deadly Affair"- films that have nary a gunshot but overwhelm with paranoia and careful exposition. John Huston's "The Kremlin Letter" falls squarely into this category, upping the ante in nihilism and quick-speak that throws the viewer into the middle of an elaborate operation inside Communist Russia within the first few minutes. Code words are thrown about casually with little information. A car drives off a cliff and explodes. What, at first, seems like a hodgepodge of spy experts, soon turns into a cryptic series of assignments and double crosses. It's all stirred up masterfully by a director who understands how to get out of his own way and present the story with straight precision.
The Life and Times of Judge Roy Bean (1972) ***1/2- With revisionist westerns being produced by the minute in New Hollywood around this time (Peckinpah especially) “The Life and Times of Judge Roy Bean” is a terrific film about the myth making of old America, featuring a stellar and hysterical performance by Paul Newman. Watch it alongside “The Ballad of Cable Hogue” and “The Man Who Shot Liberty Valance” for two examples of films with a higher purpose… exercises that wittily deconstruct the genre while advancing the careers of both actor and director.
Fat City (1972) ***½- Completely unclassifiable “boxing” movie that celebrates the city gutters and washed up glories of alcoholic athletes without ever losing its sense of poignancy. Stacy Keach is marvelous as the aforementioned washed up athlete coming into contact with a younger scrapper (Jeff Bridges) who could be his younger doppelganger full of youthful ambition. The bond that forms between the men never proceeds where you think it will and the entire film bobs and weaves gracefully without ever really committing to a hard edged narrative. Whether it was the enveloping freedom of the late 60’s or Huston’s own growing disillusionment with Hollywood, “Fat City” feels like the first film Huston chose in placing tone over narrative. Either way, it holds up amazingly well today as a character study with a knockout (but quiet) final scene. DVD now sadly OOP.
The Mackintosh Man (1973) ***- Huston keeps his track record of strong 70’s cinema rolling with Paul Newman as a spy getting himself locked up, abducted, and then whisked away to beautiful Ireland all to “out” a sinister organization. With pieces borrowed from Hitchcock, “The Mackintosh Man” is a reverent and detached thriller that plays much like “The Kremlin Letter”… and with both films, it’s clear Huston is on autopilot and having fun.
The Man Who Would Be King (1975) ***- With echoes of earlier films about glory found and ultimately lost in the wind (I.e. “The Treasure of the Sierra Madre”), this film is a return to the sweeping vistas and child-like adventurer spirit of some of his 60’s efforts, with terrific performances by Michael Caine and Sean Connery as two gunrunners who end up taking control of a remote mountainous region and its inhabitants through sheer luck. Based on a short story by Rudyard Kipling (played in the film’s bookended opening and closing scenes by Christopher Plummer) it really all comes down to the ideas of conceited Western machismo versus Old World solitary, all done up in Huston’s obligatory non-flair style, and sharp editing. This is an actor’s movie, though, and Caine and Connery exude confidence and perception.
Wise Blood (1979) **- As the Southern war vet turned maniacal preacher who forms his own religion, Brad Dourif is tantalizing and the influence on Paul Thomas Anderson and David Lynch is right there, yet “Wise Blood” failed for me. It’s just simply an odd film that never maintains a tone. For a majority of the 70’s, Huston seemed to be working towards gutter poetry (see “Fat City“ for a more precise rendering) and “Wise Blood” is the capstone to this movement, a film I admire more than actually like.
Phobia (1980) *½- Huston’s attempt at confiscating the Italian giallo, complete with gloved killer and all. Not only does “Phobia” transpose the plot of these 70‘s horror films, but it (unfortunately) also takes with it the clunky pacing and non-sensical plotting of many of these. A doctor (Paul Michael Glaser) begins having his patients murdered one by one. Suspicion arises due to the fact the doctor is currently using the patients in experimental treatments for their phobias. Financed and filmed in Canada and featuring largely no-names, “Phobia” is curiously devoid of anything really… including lackluster direction. Not on DVD.
Victory (1981) ***- A bit clichéd and certainly heavy handed at times, this modest tale of POW prisoners taking up soccer in order to escape, “Victory” features solid performances all around. If nothing else, it’s a notable footnote in the sport-as-life parables that were being churned out of Hollywood, including “The Longest Yard”.
Annie (1981) *1/2- What is it about aging directors assuming a musical in the autumn of their years? Lumet tried, and failed miserably, with “The Wiz” a few years earlier, and Huston fares little better with his expensive screen adaptation of the hit “Annie”.
Under the Volcano (1984)***½- From the very opening as Albert Finney stumbles around the festivities of the Day of the Dead in Mexico stone drunk, Huston’s adaptation of this tough novel is challenging and visually arresting. It’s all the more mordant when Huston frames the reflection of novelty skulls in the sunglass shades of Finney. Lonely by the seperation of his wife (Jacqueline Bisset) and unable to live up to the adventurous heroics of his journalist brother Hugh (Anthony Andrews), Finney is a repellant figure to follow for two hours, yet “Under the Volcano” is such a terrific film because of it. Pair this with “Save the Tiger” and one has a very downbeat portrait of the male ego in perpetual crisis. A very dark journey, indeed, buoyed by Finney’s immersive performance and a camera that never dares to look away. Of all Huston’s films, I feel this is the one that will grow in my memory over time.
Prizzi’s Honor (1986) **½- There’s nothing inherently bad about Huston’s amiable gangster black comedy. I’ve tried watching it probably five times over the years as it was one my dad’s favorite movies, and always ended up being bored with it. Watching it all the way through now and my opinion was pretty much spot-on. Nicholson feels severely miscast as the Italian hit man for the Prizzi mafia family as he spews out lots of “faddas” in an equally bad confiscation of the Italian dialect. But honestly, butchering the local tongue is something Huston has done his entire career. Kathleen Turner, at the height of her stardom, fares much better as the elusive woman of his dreams, but it’s William Hickey as the family don who really steals the show. Huston is in full autopilot here, barely recognizable behind the camera.
The Dead (1987) ***- Delicate way to end a long career, and a true family affair as the film stars daughter Angelica from a script by son Tony. Appropriated from a short story by James Joyce, “The Dead” is a patient, quiet observation of a small group of friends who meet for Christmas dinner in 1904 Dublin. There’s no subversive animosity or psychological power plays at work here. What the film does best is allow its actors to exude a warmth and gentleness, only hinting at something darker when past loves and forgotten opera singers are fleetingly thought about towards the end of the film. The final shot, with the camera pointing up at the sky as snow gently falls, is about as perfect a final shot I could imagine for Huston the journeyman.
The Maltese Falcon (1941) ***½- A young filmmaker could only hope for a debut film this assured and now well renowned. Humphrey Bogart chews the scenery as Sam Spade, one of a handful of people desperately chasing a priceless artifact, and one gets the sense of cinema’s hardboiled love affair beginning right before our eyes.
Across the Pacific (1942) ***- Lingering on the calendar dates of November, 1941, and then eventually December 6 of the same year, “Across the Pacific” certainly takes on an air of failed mortality as Bogart tries to expose international spies on an Atlantic liner. It’s as if the whole affair is for naught, and for a film in the early 40’s this pessimism is certainly refreshing. Sydney Greenstreet and Mary Astor again join Huston in a film that has Bogart playing the good guy trying to unmask some devious anti-American sorts. Part bubbly romance and eventually action-thriller, “Across the Pacific” features two or three great set pieces (a long shot over and around the cruise liner as the characters meet and a movie theater shootout) that showcase Huston’s growing confidence behind the camera.
In This Our Life (1942) ***- Bette Davis is a malevolent home wrecker in this Tennessee Williams-like family chamber drama, but I’ll take Olivia de Havilland as the gentle sister any day of the week. It’s hard for a director to really place his stamp on such an ordinary drama as this, but there are flashes of ‘auetership’ in the beginning as his camera rolls, pans and follows people around as the characters are established. Bette Davis tears up the screen (and her own family) by stealing husbands and driving fast, and that alone creates a manic sense of tempo in the film that feels refreshing for the early 40’s.
Report From the Aleutians (1943) **- One of two documentaries Huston made for the United States military (the other was a less flattering portrait of mentally wounded and handicapped soldiers recovering in various hospitals), “Report From the Aleutians” is certainly a rah-rah attempt to educate and enlighten the masses about our brave fighting boys stationed in the remote parts of the Northwest. There’s nothing really wrong with this documentary, but its standard history channel fare with little distinction from Huston behind the camera save his gruff voice over.
On Our Merry Way (1948) **- It’s debatable how much involvement Huston really had in making this episodic comedy, but I’ll include it anyway. Burgess Meredith plays a menial paper employee who stumbles into the chance to be the “Roving Reporter” for the day and ask a seemingly banal question to innocent bystanders. Their answers open the film out into memories and myth making, the best of which features the dashing duo of James Stewart and Henry Fonda as broke jazz musicians telling their tale. There’s nothing really unique about the film…. Its amiable and straightforward.
Treasure of the Sierra Madre (1948) ****- Huston’s first real masterpiece in my opinion… a brilliant deconstruction of greed bracketed against the western genre with enough scenes and dialogue to penetrate throughout film for the next 60 years. Every time I watch it today, the money blowing in the wind is a confident coda to a sure handed film that seems to exceed its modest ideas.
Key Largo (1948) ***1/2- In my early days of film-watching (and dipping my toes in the waters of film noir) “Key Largo” was one of the seminal viewings, a gangster film that plays out like a Broadway play as the screws slowly tighten around the confined setting of a hotel. Edward Robinson is menacing as the gangster on the run, holed up against Humphrey Bogart, both men chewing the scenery with gusto. Oh, and there’s a hurricane approaching…. peripheral catastrophe that parallels the inner psychological terror of the film’s protagonists and would serve as a recurring motif in American cinema for years. The very fact that Huston helmed two groundbreaking films in the same year is still mind boggling.
We Were Strangers (1949) ***1/2- Involving romance between native Cuban girl(Jennifer Jones) and American freedom fighter (John Garfield) during the growing days of Communism in Cuba. Jones provides the house for Garfield and his comrades to dig a tunnel across the street in hopes of blowing up important political officials. With “The Treasure of Sierra Madre”, Huston has lots of fun covering his male stars in dirt and grime and one can sense his evocative use of close-up beginning to take shape. There’s also an incredible 4 minute shoot out scene at the end with the ‘Tommy gun’ bursts lighting up the scene and Huston perching his camera just behind Garfield and yes, Jones herself as she takes over the gun at times. I’d say Michael Mann is a huge fan of this film. Probably the unsung surprise of Huston’s career.
The Asphalt Jungle (1950) ****- Trendsetting heist film that boats so many great characteristics: the almost wordless, music-less ten minute diamond robbery, shrewd cutting, moody cinematography and a brilliant (almost effortless) tough guy performance by Sterling Hayden. Produced in 1950, perhaps the most accomplished thing about “The Asphalt Jungle” is that Huston got this film made after the halcyon days of film noir while still being able to carve out something organic and fresh. Clearly an influence on the French New Wave and “Rififfi” some five years later, “The Asphalt Jungle” immerses one in the underworld where the biggest challenge is not committing the crime, but getting away with it- as the film’s four main characters soon find out. As the anti-hero, robber and hooligan Hayden kind of makes one hope he gets away, with cynical dialogue that mirrors the subversive tone of the entire film blaming the stench and concrete claustrophobia of the city for his desperate actions. In every regard, “The Asphalt Jungle” is a film that deserves to be studied and admired. Oh, and not only does it feature a young and stunning Marilyn Monroe, but the final shot ranks as probably the best in Huston’s long career.
The Red Badge of Courage (1951) *½- Based on the classic novel about a youth finding his courage during the battles of the Civil War, this is an admirable telling that gets mired down in dispassionate, stock characters and a few too many “gol darns” and “jim-dandys” for me.
The African Queen (1951) **- Regarded as a classic, yes, but I just found the story of Bogart and Hepburn trapped in a small boat trying to defeat a German ship a bit on the slow side. It feels creaky, rusty and too old fashioned at every turn… a commercial venture without any real heart. Newly released to DVD after years of anticipation, this was a let down.
Moulin Rouge (1952) ***- Lush telling of Paris artist Henri Toulouse-Letrac and his relationship with a cantankerous prostitute. The opening scenes, which take place in the infamous Moulin Rouge hot spot of Paris, invoke great energy, full of a roving camera that glides, pans and swirls. The remainder of the film slows a bit but is just as involving as the lonely, physically disfigured Lautrec (Jose Ferrer) sours on life and love. While the Moulin Rouge itself is used a cinematic reminder of happier, carefree days, Huston’s film is more concerned with the inner demons of a struggling artist rather than the boisterous, musical roots exemplified in Baz Luhrman’s later update. The script by Huston, based on Pierre La Mure’s novel, swells into speech making at times, delivered with gusto by Ferrer, Zsa Zsa Gabor and others. And one cinematic trick- editing a myriad of sketches and artwork, timed to the music- feels quite revolutionary for the time, mimicked time and again by future filmmakers.
Beat the Devil (1953) **½- For the early 50’s this black comedy could almost be considered an independent, financed by an offshore company and featuring some dimly lit, cheap looking photography. It also stars Humphrey Bogart just a few years before his death, and the sickness was (visibly) already taking its toll. Not a bad film by any stretch of the imagination- Truman Capote’s script and Huston’s dry wit are on full display throughout the film’s twisting narrative about five criminals stuck in limbo with a proper British couple as they await to strike it rich in an African country through nefarious means. After a few years of producing some serious minded flicks, “Beat the Devil” feels like a stress-reliever for Huston and not much more.
Moby Dick (1956) ***- Exquisite cinematography and a manic performance from Gregory Peck send this adaptation of the Herman Melville novel over the top in a good way. Often times, the central idea of a great novel get lost in the translation, but the searing obsession shown by Captain Ahab in the novel (as well as the contagious insanity onto the crew) is maintained by Huston, giving the film its purpose. Though it’s a bit ‘stagey’ at times (see the early scene of Orson Welles as a preacher who obviously loves the sound of his own voice), the finale is rousing. Yes, it’s all models and trick photography, but done magnificently.
Heaven Knows, Mr. Allison (1957) ***- Besides the gruff machismo and penchant for adventurous locations, there’s another theme that’s becoming evident in Huston’s work- that of the incongruous relationships between man and woman. On full display in films such as “The African Queen” and “We Were Strangers”, this time Huston pits the divide between innocent, isolated nun Deborah Kerr and the very New Yawkish World War II soldier Robert Mitchum. As a soldier who washes up on the lonely Japanese island, Mitchum hams up the Americanism a bit much, yet there’s viable chemistry between him and Kerr. The walls built up around both personalities are believable, and when the Japanese Army arrives on the island and begins to systematically search it for deserters, “Heaven Knows Mr. Allison” becomes a taut tale of survival.
The Barbarian and the Geisha (1958) **- John Ford as the first American consult to the shores of Japan in the 1850’s continues Huston’s fascination with exotic locales. It’s hard to make Japan’s history of paper- mache lanterns and garish colors boring, and the film does look incredible, but the central relationship between Wayne and a geisha girl (Eiko Ando) is extremely wooden. Also, the presentation of the culture clash between the jingoistic Wayne and the protected lifestyles of the Japanese villagers is less than intriguing with lines like “they can’t pronounce the letter L”. Honestly, I’m not a huge fan of Wayne’s acting style and it comes off as even more one-note here… as if he stepped off the last John Ford western and didn’t miss a beat in refurbishing the same hard nosed character to a story that certainly needed more introspection and humility. Not available on DVD
The Roots of Heaven (1958) **- Odd obsession film starring Errol Flynn as the self appointed protector of the wild elephant in Africa. Not always a success, two things really stand out- the wonderfully composed dryness of the African deserts and the lovely visage of Juliette Greco as the local barmaid who falls under Flynn’s madcap spell. Not available on DVD
The Unforgiven (1960) **- Taken as a direct subversion of John Ford’s “The Searchers”, the ideas in Huston’s “The Unforgiven” are quite majestic: instead of the obsessive quest to redeem a white girl from her Indian captives, Burt Lancaster and his family fight for the protection of an Indian woman secretly harbored by their father for many years. Audrey Hepburn, as the woman in question, is simply stunning here and the moment she fires a gun point blank into the chest of an oncoming attacker, one really feels the essence of her psychological burden. It’s just that so much of the remainder of the film trades in arcane stereotypes and lazy ham-fisted acting. And it just always bothers me when a film supposedly set in Texas highlights the mountains all around the actors. Not on DVD.
The Misfits (1961) ****- An intimate, delicate four character study starring Marilyn Monroe as a recently divorced woman who throws caution to the wind and hangs out with two cowboys (Clark Gable and Eli Wallach) outside Reno, Nevada. A relationship forms between her and Gable to the jealous dismay of Walach. Then enter a third cowboy played by Montgomery Clift. Much has been made about the ominous overtones of real life with three of the film’s stars passing away so soon after wrap, but “The Misfits” is a masterpiece, and probably the film in Huston’s career that gets the least attention for its immaculate story and wonderfully moody black and white images. Each actor gets their stellar scene, especially Clift with a phone booth monologue that’s equally morbid and heartbreaking. The final thirty minutes, involving a wild mustang roundup in the Nevada desert, is Huston at his most magisterial, acting as a metaphor for the characters and a swirling display of emotion, camera movement and screenwriting.
The List of Adrian Messenger (1962) *½- This is a film with so much promise that ultimately winds up as nothing more than a gimmicky all-star affair… something the 60’s were great at producing. A man winds up dead after a plane crash and a family friend (George C. Scott) uncovers a long list of murders associated with the dead man and his war days. Kirk Douglas, Tony Curtis, Frank Sinatra and Burt Lancaster all parade through the film wearing heavy disguises, giving us red herrings and motives for the murders. I can certainly see the novelistic ideal of the cameos in 1962, but things wear old relatively quickly and by the time Huston winds down this somewhat drawn out affair, I really didn’t care who was guilty any longer. Not on DVD.
Freud (1962) ***- Huston's sorta long-lost biopic about the innovative psychoanalyst deserves attention. Starring Montgomery Clift as Freud, the film is a delicious mixture of weird dreams, muted sexual repression and detached analytical prose. This may sound like a train wreck, but it works. Clift's performance is a bit on the average side, but "Freud" excels in its ideas. It's a film basically split into two halves: the first part focuses on Freud discovering his "process" while the second half narrows in on the complex relationship between Freud and a young woman (Susannah York) as she deals with pent-up memories. Watch it along with David Cronenberg's "A Dangerous Method" for perverse fun.
Night of the Iguana (1964) **- Like most venerable directors still working in the early to mid-60’s, Huston deemed it necessary to venture into Tennessee Williams adaptation country with “The Night of the Iguana”. Starring Richard Burton as a recently defrocked priest living out a troubled lifestyle in exotic locations where beautiful young girls (like Sue Lyon) throw themselves at him, the film never really succeeds in involving the audience. From a script by Williams, the film does feature a simmering amount of sexual tension but its in the lazy execution and modest direction that “Night of the Iguana” fails to engage.
The Bible… In the Beginning (1966) *1/2- As with many of Huston’s films from the 1960‘s, there’s very little feeling in the work, opting instead for the blockbuster mentality with star power, and this film is probably the crest of that wave. Part of the joy in making this biblical epic, assuredly, was the chance to visualize the monumental stories of the Bible, and he does that with flying colors, establishing a vibrant mise-en-scene with large scale production design. But because we know these stories inside and out, there’s no narrative tension and the entire effort falls flat.
Casino Royale (1967) *- Huston was one of several other directors and limited to filming probably 1/8th of this two and a half hour James Bond spoof, but I’ll include it anyway because it’s so bad on so many levels- extremely dated, lifeless and visually flat. The idea of a spy spoof, especially starring Peter Sellers, has so much potential but its all wasted.
Reflections In A Golden Eye (1967) ***- An odd and completely unnerving drama that feels way ahead of its time. Allow me to synopses the plot: army commander (Marlon Brando) lives off the base with his wife (Elizabeth Taylor) in a hapless marriage while she openly carries on an affair with army captain neighbor (Brian Keith) whose mentally unstable wife (Julie Harris) locks herself away in a room with her Philipino manservant (Zorro David) and paints. Plus, a young Robert Forster sulks around Brando’s house at night, rides bareback naked during the day and elicits homosexual urges out of the repressed Brando. All of this is filmed in a (literally) golden saturated haze which generates more sense of unease around its hothouse summer atmosphere. Yet this atmosphere is the real pleasure of “Reflections In A Golden Eye”. The performances are just above average, but it’s the sinister feeling around Brando as he follows the young G.I. after a movie on the base or the masochistically symbolic attempt to punish himself by riding a wild horse through thorns and trees, then beating the horse within an inch of its life that sparks the perverse attitude of the whole effort. Watchable for Huston’s desire to create something completely different from anything else he’s ever done.
Sinful Davey (1969) *1/2- As the fast-talking roustabout and title character, John Hurt anchors this modest comedy that features some stunning Irish landscapes and bawdy humor. Running from authorities and old girlfriends alike, Hurt plays Davey, a low-rent thief who manages to get himself in trouble with the government wherever he goes. This feels like a breezy change of pace for Huston after several more ‘serious’ efforts, and any film that features a group of men using a midget’s head to crash through the prison ceiling above to get to the women’s section certainly qualifies as breezy. Not on DVD.
A Walk With Love and Death (1969) **- As a medieval allegory for the free love and hippie wandering of late 60’s America, “A Walk With Love and Death” is an alluring curiosity. As a strait-forward tale of young love between a traveling student (Assi Dayan) and the royal princess (Anjelica Huston) who falls in love with him, the film is an utter bore. Mixed in with the young couple’s travel across France and England during the 100 Years War are clumsily edited fight scenes between knights and peasants that resembles the awkward artificiality of Robert Bresson’s “Lancelot du Lac”- although the stilted actions in that far superior film are meant to be taken in stride. Under Huston’s direction, it all feels poorly put together and devoid of any real connection between Dayan and Angelica. Not on DVD.
The Kremlin Letter (1970) ****- I do hold a soft place in my heart for spy movies. While there's always room for the gaudy jet setting Bond adventures with its fantastic toys, ironic dialogue and cheeky performances, the spy movies that really get my heart racing are the more subdued, cerebral efforts. I think specifically of Martin Ritt's wonderful "The Spy Who Came In From the Cold" or Sidney Lumet's "The Deadly Affair"- films that have nary a gunshot but overwhelm with paranoia and careful exposition. John Huston's "The Kremlin Letter" falls squarely into this category, upping the ante in nihilism and quick-speak that throws the viewer into the middle of an elaborate operation inside Communist Russia within the first few minutes. Code words are thrown about casually with little information. A car drives off a cliff and explodes. What, at first, seems like a hodgepodge of spy experts, soon turns into a cryptic series of assignments and double crosses. It's all stirred up masterfully by a director who understands how to get out of his own way and present the story with straight precision.
The Life and Times of Judge Roy Bean (1972) ***1/2- With revisionist westerns being produced by the minute in New Hollywood around this time (Peckinpah especially) “The Life and Times of Judge Roy Bean” is a terrific film about the myth making of old America, featuring a stellar and hysterical performance by Paul Newman. Watch it alongside “The Ballad of Cable Hogue” and “The Man Who Shot Liberty Valance” for two examples of films with a higher purpose… exercises that wittily deconstruct the genre while advancing the careers of both actor and director.
Fat City (1972) ***½- Completely unclassifiable “boxing” movie that celebrates the city gutters and washed up glories of alcoholic athletes without ever losing its sense of poignancy. Stacy Keach is marvelous as the aforementioned washed up athlete coming into contact with a younger scrapper (Jeff Bridges) who could be his younger doppelganger full of youthful ambition. The bond that forms between the men never proceeds where you think it will and the entire film bobs and weaves gracefully without ever really committing to a hard edged narrative. Whether it was the enveloping freedom of the late 60’s or Huston’s own growing disillusionment with Hollywood, “Fat City” feels like the first film Huston chose in placing tone over narrative. Either way, it holds up amazingly well today as a character study with a knockout (but quiet) final scene. DVD now sadly OOP.
The Mackintosh Man (1973) ***- Huston keeps his track record of strong 70’s cinema rolling with Paul Newman as a spy getting himself locked up, abducted, and then whisked away to beautiful Ireland all to “out” a sinister organization. With pieces borrowed from Hitchcock, “The Mackintosh Man” is a reverent and detached thriller that plays much like “The Kremlin Letter”… and with both films, it’s clear Huston is on autopilot and having fun.
The Man Who Would Be King (1975) ***- With echoes of earlier films about glory found and ultimately lost in the wind (I.e. “The Treasure of the Sierra Madre”), this film is a return to the sweeping vistas and child-like adventurer spirit of some of his 60’s efforts, with terrific performances by Michael Caine and Sean Connery as two gunrunners who end up taking control of a remote mountainous region and its inhabitants through sheer luck. Based on a short story by Rudyard Kipling (played in the film’s bookended opening and closing scenes by Christopher Plummer) it really all comes down to the ideas of conceited Western machismo versus Old World solitary, all done up in Huston’s obligatory non-flair style, and sharp editing. This is an actor’s movie, though, and Caine and Connery exude confidence and perception.
Wise Blood (1979) **- As the Southern war vet turned maniacal preacher who forms his own religion, Brad Dourif is tantalizing and the influence on Paul Thomas Anderson and David Lynch is right there, yet “Wise Blood” failed for me. It’s just simply an odd film that never maintains a tone. For a majority of the 70’s, Huston seemed to be working towards gutter poetry (see “Fat City“ for a more precise rendering) and “Wise Blood” is the capstone to this movement, a film I admire more than actually like.
Phobia (1980) *½- Huston’s attempt at confiscating the Italian giallo, complete with gloved killer and all. Not only does “Phobia” transpose the plot of these 70‘s horror films, but it (unfortunately) also takes with it the clunky pacing and non-sensical plotting of many of these. A doctor (Paul Michael Glaser) begins having his patients murdered one by one. Suspicion arises due to the fact the doctor is currently using the patients in experimental treatments for their phobias. Financed and filmed in Canada and featuring largely no-names, “Phobia” is curiously devoid of anything really… including lackluster direction. Not on DVD.
Victory (1981) ***- A bit clichéd and certainly heavy handed at times, this modest tale of POW prisoners taking up soccer in order to escape, “Victory” features solid performances all around. If nothing else, it’s a notable footnote in the sport-as-life parables that were being churned out of Hollywood, including “The Longest Yard”.
Annie (1981) *1/2- What is it about aging directors assuming a musical in the autumn of their years? Lumet tried, and failed miserably, with “The Wiz” a few years earlier, and Huston fares little better with his expensive screen adaptation of the hit “Annie”.
Under the Volcano (1984)***½- From the very opening as Albert Finney stumbles around the festivities of the Day of the Dead in Mexico stone drunk, Huston’s adaptation of this tough novel is challenging and visually arresting. It’s all the more mordant when Huston frames the reflection of novelty skulls in the sunglass shades of Finney. Lonely by the seperation of his wife (Jacqueline Bisset) and unable to live up to the adventurous heroics of his journalist brother Hugh (Anthony Andrews), Finney is a repellant figure to follow for two hours, yet “Under the Volcano” is such a terrific film because of it. Pair this with “Save the Tiger” and one has a very downbeat portrait of the male ego in perpetual crisis. A very dark journey, indeed, buoyed by Finney’s immersive performance and a camera that never dares to look away. Of all Huston’s films, I feel this is the one that will grow in my memory over time.
Prizzi’s Honor (1986) **½- There’s nothing inherently bad about Huston’s amiable gangster black comedy. I’ve tried watching it probably five times over the years as it was one my dad’s favorite movies, and always ended up being bored with it. Watching it all the way through now and my opinion was pretty much spot-on. Nicholson feels severely miscast as the Italian hit man for the Prizzi mafia family as he spews out lots of “faddas” in an equally bad confiscation of the Italian dialect. But honestly, butchering the local tongue is something Huston has done his entire career. Kathleen Turner, at the height of her stardom, fares much better as the elusive woman of his dreams, but it’s William Hickey as the family don who really steals the show. Huston is in full autopilot here, barely recognizable behind the camera.
The Dead (1987) ***- Delicate way to end a long career, and a true family affair as the film stars daughter Angelica from a script by son Tony. Appropriated from a short story by James Joyce, “The Dead” is a patient, quiet observation of a small group of friends who meet for Christmas dinner in 1904 Dublin. There’s no subversive animosity or psychological power plays at work here. What the film does best is allow its actors to exude a warmth and gentleness, only hinting at something darker when past loves and forgotten opera singers are fleetingly thought about towards the end of the film. The final shot, with the camera pointing up at the sky as snow gently falls, is about as perfect a final shot I could imagine for Huston the journeyman.
Friday, June 24, 2011
What's In the Netflix Queue #32
1. The Prowler (1981)- Cheapie 80's horror film newly released to DVD, featured in one of Tarantino's film fest events, and starring Lawrence Tierney whom Tarantino would later use to gruff excellence in his own film.
2. The Lost Honor of Katarina Blum (1975)- Volker Schlondorff's tale of a woman whose love affair with a suspected terrorist sends her life into chaos. This is one of those movies I'm sure I saw back in the day, yet can't remember.
3. A Woman, A Gun, and A Noodle Shop (2009)- Zhang Yimou's remake or re-imagining of the Coen Brothers deliciously great debut "Blood Simple" has been floating in my queue for about a year now so I moved it closer to the top. The word of mouth has been mixed and Yimou is a director I used to ardently admire, but kinda cooled on lately through his mediocre efforts ("Riding Alone For Thousands of Miles, "Happy Times" etc). We'll see on this one.
4. The Great Gatsby (1974)- Robert Redford in the great novels adaptation to the screen.
5. A Call Girl (2010)- "This insightful, allegorical drama follows Aleksandra (Nina Ivanisin), a student, as she travels from a small town to the big city. A cynical and callous young woman, Aleksandra uses the move to transform herself into a well-paid call girl. Her self-imposed isolation and guilt-free life end, however, when a politician client dies. As the police pursue her, Aleksandra must figure out how to finish growing up without losing her soul." From the Neflix description.
6. A Summer In Genoa (2009)- Pretty sad when a Michael Winterbottom film is relegated to the the DTV pile, but apparently this one was. One of my very favorite directors working today. And starring Colin FIrth, Katherine Keener and Hope Davis!
7. How To Kill a Judge (1972)- More Euro crime, this time about a film director (Franco Nero) inciting violence from the mob to, well, kill a local judge.
8. The Illustrated Man (1969)- Curious title that I came across while surfing selections. "Rod Steiger plays the titular character -- a man covered with tattoos -- in this adaptation of Ray Bradbury's tale. When a young drifter (Robert Drivas) encounters "the illustrated man," he can't take his eyes off the pictures on the man's torso. But staring at the designs takes the drifter smack-dab into the middle of the pictures -- in one instance, stranded on Venus, in another, on an African veldt and in the third, on the eve of Armageddon."
9. Breaking Bad Season 3 (2010)- Yet another reason television has become one of the best creative outlets.
10. Harakari (1962)- "Winner of the Cannes Special Jury Prize, Masaki Kobayashi's drama centers on samurai Hanshiro Tsugumo (Tatsuya Nakadai), who arrives at a lavish manor and asks to commit hara-kiri on the grounds. But the vengeful warrior is harboring a secret. A new political climate finds the once-powerful samurais wandering the country begging estate owners to allow them to commit suicide on their properties, when what they really want is a handout."
2. The Lost Honor of Katarina Blum (1975)- Volker Schlondorff's tale of a woman whose love affair with a suspected terrorist sends her life into chaos. This is one of those movies I'm sure I saw back in the day, yet can't remember.
3. A Woman, A Gun, and A Noodle Shop (2009)- Zhang Yimou's remake or re-imagining of the Coen Brothers deliciously great debut "Blood Simple" has been floating in my queue for about a year now so I moved it closer to the top. The word of mouth has been mixed and Yimou is a director I used to ardently admire, but kinda cooled on lately through his mediocre efforts ("Riding Alone For Thousands of Miles, "Happy Times" etc). We'll see on this one.
4. The Great Gatsby (1974)- Robert Redford in the great novels adaptation to the screen.
5. A Call Girl (2010)- "This insightful, allegorical drama follows Aleksandra (Nina Ivanisin), a student, as she travels from a small town to the big city. A cynical and callous young woman, Aleksandra uses the move to transform herself into a well-paid call girl. Her self-imposed isolation and guilt-free life end, however, when a politician client dies. As the police pursue her, Aleksandra must figure out how to finish growing up without losing her soul." From the Neflix description.
6. A Summer In Genoa (2009)- Pretty sad when a Michael Winterbottom film is relegated to the the DTV pile, but apparently this one was. One of my very favorite directors working today. And starring Colin FIrth, Katherine Keener and Hope Davis!
7. How To Kill a Judge (1972)- More Euro crime, this time about a film director (Franco Nero) inciting violence from the mob to, well, kill a local judge.
8. The Illustrated Man (1969)- Curious title that I came across while surfing selections. "Rod Steiger plays the titular character -- a man covered with tattoos -- in this adaptation of Ray Bradbury's tale. When a young drifter (Robert Drivas) encounters "the illustrated man," he can't take his eyes off the pictures on the man's torso. But staring at the designs takes the drifter smack-dab into the middle of the pictures -- in one instance, stranded on Venus, in another, on an African veldt and in the third, on the eve of Armageddon."
9. Breaking Bad Season 3 (2010)- Yet another reason television has become one of the best creative outlets.
10. Harakari (1962)- "Winner of the Cannes Special Jury Prize, Masaki Kobayashi's drama centers on samurai Hanshiro Tsugumo (Tatsuya Nakadai), who arrives at a lavish manor and asks to commit hara-kiri on the grounds. But the vengeful warrior is harboring a secret. A new political climate finds the once-powerful samurais wandering the country begging estate owners to allow them to commit suicide on their properties, when what they really want is a handout."
Thursday, June 16, 2011
3
Stake Land
Jim Mickle’s “Stake Land” features some surprisingly tender moments for a film that deals with a post-apocalyptic landscape teeming with feral vampire cannibals. Part horror film and part white-trash western, “Stake Land” exceeds all expectations by creating full bodied characters that we care about, wonderfully timed cinematography that never forgets about the human element in its carnage, and a soundtrack that evokes the coming-of-age duplicity in “Badlands”. In short, its one of the year’s best films. Starring Nick Damici (who also co-wrote the film) as Mister, the hard as nails vampire hunter traveling to supposed safe haven up north in a land called New Eden, he encounters teenager Martin (Connor Paolo) and the two form a family of sorts as they trek across the land fighting off the infected and Bible thumping fanatics at the same time. More survivalists join up along the way, including Kelly McGillis as an embattled nun and a pregnant teenager Belle played by Danielle Harris, and “Stake Land” severely ups the ante as the group travels day and night. As a genre effort, the film is good, but it’s the attention to humanity and glimmers of hope that propel “Stake Land” above its genre intentions. Just watch the little exchange between Mister and Belle as he carries her when she’s unable to walk…. Or the moments of sweetness that emerge as the group finds a temporary respite in a town circled off from the plague. “Stake Land” will throttle the nerves and supply the obligatory scares, but it also firmly implants a sense of emotional connectivity that far outlasts the horror. See this one.
The Tree of Life
Terence Malick’s Palme d’Or winning “The Tree Of Life” takes his abstract ideas of narrative filmmaking a step even further into the abyss of atmosphere, mood and sound, wrapping a story about a 1950’s Texas family against the backdrop of the creation of the universe itself. With an overbearing father (Brad Pitt) and enabling mother (Jessica Chastain) bearing the center of the story, “The Tree of Life” definitely feels like Malick’s most autobiographical work… as if the lifelong images that are said to flash before our eyes at the moment of death have been stretched across two hours and twenty minutes of screen time. This does provide some limitations, unfortunately. As an avid Malick admirer, “The Tree of Life” feels overlong and his use of the introspective voice over monologue feels more flat than before. But what does remain… the images of a mother playing with her child against a mirror… the white tapestry of a baby’s bed… the sounds of crickets that envelope the night air… all of these things do wash over the viewer in experiential waves. “The Tree of Life” is dense, ambitious and at times a head-scratcher. I think it may deepen and evolve over time, but it falls as my least favorite Malick effort to date. Bonus points for being filmed in my hometown of Waco, Texas though and that fleeting glimpse of the Alico building!
Super 8
If only J.J. Abram’s “Super 8” was a sweet, coming-of-age film that focused solely on the budding relationship between teenagers Joe (Joel Courtney) and Alice (a terrific Elle Fanning) instead of the pop culture sci-fi alien invasion film it becomes. There are two scenes with Fanning- first her ‘audition’ and the second her revelation to Joe about the tragic bonds between their fathers- that elevate “Super 8” into a perfect “Goonies” like 80’s adventure film tinged with pure emotion. Then that CGI creature has to go and smash things. But seriously, “Super 8” is terrific fun, featuring an ending that snags the heart strings more than it probably should and kept me highly entertained.
Jim Mickle’s “Stake Land” features some surprisingly tender moments for a film that deals with a post-apocalyptic landscape teeming with feral vampire cannibals. Part horror film and part white-trash western, “Stake Land” exceeds all expectations by creating full bodied characters that we care about, wonderfully timed cinematography that never forgets about the human element in its carnage, and a soundtrack that evokes the coming-of-age duplicity in “Badlands”. In short, its one of the year’s best films. Starring Nick Damici (who also co-wrote the film) as Mister, the hard as nails vampire hunter traveling to supposed safe haven up north in a land called New Eden, he encounters teenager Martin (Connor Paolo) and the two form a family of sorts as they trek across the land fighting off the infected and Bible thumping fanatics at the same time. More survivalists join up along the way, including Kelly McGillis as an embattled nun and a pregnant teenager Belle played by Danielle Harris, and “Stake Land” severely ups the ante as the group travels day and night. As a genre effort, the film is good, but it’s the attention to humanity and glimmers of hope that propel “Stake Land” above its genre intentions. Just watch the little exchange between Mister and Belle as he carries her when she’s unable to walk…. Or the moments of sweetness that emerge as the group finds a temporary respite in a town circled off from the plague. “Stake Land” will throttle the nerves and supply the obligatory scares, but it also firmly implants a sense of emotional connectivity that far outlasts the horror. See this one.
The Tree of Life
Terence Malick’s Palme d’Or winning “The Tree Of Life” takes his abstract ideas of narrative filmmaking a step even further into the abyss of atmosphere, mood and sound, wrapping a story about a 1950’s Texas family against the backdrop of the creation of the universe itself. With an overbearing father (Brad Pitt) and enabling mother (Jessica Chastain) bearing the center of the story, “The Tree of Life” definitely feels like Malick’s most autobiographical work… as if the lifelong images that are said to flash before our eyes at the moment of death have been stretched across two hours and twenty minutes of screen time. This does provide some limitations, unfortunately. As an avid Malick admirer, “The Tree of Life” feels overlong and his use of the introspective voice over monologue feels more flat than before. But what does remain… the images of a mother playing with her child against a mirror… the white tapestry of a baby’s bed… the sounds of crickets that envelope the night air… all of these things do wash over the viewer in experiential waves. “The Tree of Life” is dense, ambitious and at times a head-scratcher. I think it may deepen and evolve over time, but it falls as my least favorite Malick effort to date. Bonus points for being filmed in my hometown of Waco, Texas though and that fleeting glimpse of the Alico building!
Super 8
If only J.J. Abram’s “Super 8” was a sweet, coming-of-age film that focused solely on the budding relationship between teenagers Joe (Joel Courtney) and Alice (a terrific Elle Fanning) instead of the pop culture sci-fi alien invasion film it becomes. There are two scenes with Fanning- first her ‘audition’ and the second her revelation to Joe about the tragic bonds between their fathers- that elevate “Super 8” into a perfect “Goonies” like 80’s adventure film tinged with pure emotion. Then that CGI creature has to go and smash things. But seriously, “Super 8” is terrific fun, featuring an ending that snags the heart strings more than it probably should and kept me highly entertained.
Saturday, June 11, 2011
Trailers I Love: Take Shelter
Jeff Nichols is going to be a HUGE talent. Go rent "Shotgun Stories" now.
Tuesday, June 07, 2011
Don't Answer the Phone: Edward Yang's "The Terrorizers"
The pivotal tragic action at the center of Edward Yang's remarkable 1986 film "The Terrorizers" is barely given emphasis. A disgruntled gang members girlfriend, named "White Chick", makes a prank phone call to a female writer (Cora Miao)describing that her doctor husband (Lee Chi Chun) is having an affair. Already in the midst of marital discomfort through her inability to finish her novel and he in the middle of a major shake-up at work, this declaration of infidelity pushes them (and the film itself) into a mirror hall of art versus reality and violent urges. Despite the fact of any real truth behind the phone call, "The Terrorizers" gets both its title and its quiet tension through this obfuscated act that defines the intelligent work of Edward Yang.... a filmmaker who slowly builds up the pieces of the puzzle and forces the viewer to infer the major moments of his work through instinct and feeling.
In addition to the malaise of the married couple, there's a teenage photographer (Shanquon Hong) who films the opening raid in which White Chick flees from the cops, and in a bit of Hitchcock-like obsession, falls in love with her. He rents out her apartment and creates a wall-sized mural of her pictures. At first, his presence in the film feels like another cog in Yang's spinning modern Taipei society, but its his interpretation of White Chick's apocalyptic phone call that begets the bloodletting.
The most thrilling aspect of "The Terrorizers" is not the very thin above plot synopsis. Yang's films defy description, really. Filmed in 1984 and '85 and eventually released in 1986, Yang and fellow countryman Hou Hsiao-Hsien were just beginning to break through on the international scene. "The Terrorizers" and Hsiao-Hsien's early 90's films are breathtaking for their introduction of a new cinematic vernacular. The way their camera slowly swivels around in a scene, following and observing the interaction between the characters rather than directing the action... the non-linear editing style that continually places the viewer in identification mode... or the depth of field out windows, around hallways or through doorways. It's all very distinctive. And "The Terrorizers" is one of Yang's early efforts in a long line of distinctive and impressive works.
In addition to the malaise of the married couple, there's a teenage photographer (Shanquon Hong) who films the opening raid in which White Chick flees from the cops, and in a bit of Hitchcock-like obsession, falls in love with her. He rents out her apartment and creates a wall-sized mural of her pictures. At first, his presence in the film feels like another cog in Yang's spinning modern Taipei society, but its his interpretation of White Chick's apocalyptic phone call that begets the bloodletting.
The most thrilling aspect of "The Terrorizers" is not the very thin above plot synopsis. Yang's films defy description, really. Filmed in 1984 and '85 and eventually released in 1986, Yang and fellow countryman Hou Hsiao-Hsien were just beginning to break through on the international scene. "The Terrorizers" and Hsiao-Hsien's early 90's films are breathtaking for their introduction of a new cinematic vernacular. The way their camera slowly swivels around in a scene, following and observing the interaction between the characters rather than directing the action... the non-linear editing style that continually places the viewer in identification mode... or the depth of field out windows, around hallways or through doorways. It's all very distinctive. And "The Terrorizers" is one of Yang's early efforts in a long line of distinctive and impressive works.
Saturday, June 04, 2011
The Last 10 Films I've Seen
I do apologize for my movie critiques looking more and more like Twitter feeds, but I've got to do something to get off the snide here with posting. General life (and mainly baseball season) has kept me away from the theater for over 4 weeks now.. which has to be some type of personal record. Regardless, the last ten films I've seen with a few brief comments (and again, thanks "Film Comment" for the rip-off here):
1. Figures In A Landscape (1970), Joseph Losey- Like the existential car movies of the early 70's (especially "Two Lane Blacktop"), Losey's film about two escapees on the run from a menacing black helicopter is less a literal chase movie and something more sinister and psychological.
2. Kaboom (2011), Gregg Arakki- I keep telling myself this is one of the worst filmmakers post 1990, and yet I still keep watching his movies. Not as bad as, say, "Nowhere" or "The Doom Generation", but still emo-punk zaniness at its most precocious.
3. Chelsea On the Rocks, (2009), Abel Ferrera- I love me some Ferrera, but this rambling, stuttering and self-absorbed documentary about the free willed residents of the infamous New York hotel doesn't teach or explain anything.
4. Black Death (2011), Christopher Smith- A big fan of direct to video auteur Christopher Smith ("Creep", "Severance", "Triangle") and "Black Death" may be his best film yet as traveling knights led by Sean Bean confront a town possibly controlled by a witch during the black plague. It looks amazing, stars this one guy that's a dead ringer for a young Klaus Kinski, and controls its atmosphere well.
5. On the Silver Globe (1987), Andrezj Zulawski- I've seen two films by Polish mad-man Zulawski now and my stomach churned through both of them. They're not gory in any sense of the word, but his camera swings wildly, his characters all speak in shrieking tones and the overall madness of his work infuses itself into your brain... and not in a good way. This two and half hour sci-fi film is also relentless, maddening and downright challenging.
6. The Dilemma (2011), Ron Howard- A very weird film... part male bromance and part dark drama about infidelity, its tonal shifts are suspect and acting by Vince Vaughn and Kevin James feel like retreads from all their previous gigs. I still love "Swingers" and "Made", but honestly, Vaughn's shtick is getting redundant.
7. The Phenix City Story (1955), Phil Karlson- Moral tale of greed and small town corruption telestrated like an after school special, but still effective. Director Phil Karlson is an interesting genre director whose flat narrative style is always engrossing. See "Kansas City Confidential" for an under appreciated gem.
8. Red, White and Blue (2010) Simon Rumley- Awful, violent mess of a movie that looks terrible and never justifies its intense torture porn narrative spiral no matter how long it tries to establish 'emotional' connections to its three various leads. Props for its Austin, Texas filming locations.... but it even makes those places look like the gutter.
9. The Mechanic (2011), Simon West- Did we really need a remake of this so-so Charles Bronson vehicle?
10. Somewhere (2010), Sofia Coppola- More lethargic ennui by a burned out actor (Stephen Dorff) who has something vital (daughter Elle Fanning) injected into his life, timed to the lulling music of Phoenix and The Strokes. This isn't necessarily a bad thing. Coppola's slow camera really hits a nerve with its patience and I loved every second of it.
1. Figures In A Landscape (1970), Joseph Losey- Like the existential car movies of the early 70's (especially "Two Lane Blacktop"), Losey's film about two escapees on the run from a menacing black helicopter is less a literal chase movie and something more sinister and psychological.
2. Kaboom (2011), Gregg Arakki- I keep telling myself this is one of the worst filmmakers post 1990, and yet I still keep watching his movies. Not as bad as, say, "Nowhere" or "The Doom Generation", but still emo-punk zaniness at its most precocious.
3. Chelsea On the Rocks, (2009), Abel Ferrera- I love me some Ferrera, but this rambling, stuttering and self-absorbed documentary about the free willed residents of the infamous New York hotel doesn't teach or explain anything.
4. Black Death (2011), Christopher Smith- A big fan of direct to video auteur Christopher Smith ("Creep", "Severance", "Triangle") and "Black Death" may be his best film yet as traveling knights led by Sean Bean confront a town possibly controlled by a witch during the black plague. It looks amazing, stars this one guy that's a dead ringer for a young Klaus Kinski, and controls its atmosphere well.
5. On the Silver Globe (1987), Andrezj Zulawski- I've seen two films by Polish mad-man Zulawski now and my stomach churned through both of them. They're not gory in any sense of the word, but his camera swings wildly, his characters all speak in shrieking tones and the overall madness of his work infuses itself into your brain... and not in a good way. This two and half hour sci-fi film is also relentless, maddening and downright challenging.
6. The Dilemma (2011), Ron Howard- A very weird film... part male bromance and part dark drama about infidelity, its tonal shifts are suspect and acting by Vince Vaughn and Kevin James feel like retreads from all their previous gigs. I still love "Swingers" and "Made", but honestly, Vaughn's shtick is getting redundant.
7. The Phenix City Story (1955), Phil Karlson- Moral tale of greed and small town corruption telestrated like an after school special, but still effective. Director Phil Karlson is an interesting genre director whose flat narrative style is always engrossing. See "Kansas City Confidential" for an under appreciated gem.
8. Red, White and Blue (2010) Simon Rumley- Awful, violent mess of a movie that looks terrible and never justifies its intense torture porn narrative spiral no matter how long it tries to establish 'emotional' connections to its three various leads. Props for its Austin, Texas filming locations.... but it even makes those places look like the gutter.
9. The Mechanic (2011), Simon West- Did we really need a remake of this so-so Charles Bronson vehicle?
10. Somewhere (2010), Sofia Coppola- More lethargic ennui by a burned out actor (Stephen Dorff) who has something vital (daughter Elle Fanning) injected into his life, timed to the lulling music of Phoenix and The Strokes. This isn't necessarily a bad thing. Coppola's slow camera really hits a nerve with its patience and I loved every second of it.
Saturday, May 28, 2011
Cinema Obscura: Kurosawa's Revenge Double Featue
Before emerging as an international cult favorite with the slow-burn thriller "Cure" in 1997, Kiyoshi Kurosawa was deeply mired in producing efficient and violent direct to video yakuza cheapies. The six part TV series "Suit Yourself or Shoot Yourself" (1995-1996) had made Kurosawa a well known artist in Japan, and this gave him the license to create further experiments in the yakuza genre, playing with conventions and, ultimately, not really taking the genre very seriously. "The Revenge; Parts 1 and 2" were prime examples of a filmmaker whose boredom with the idea of the embedded yakuza culture gave way to seeing just how oblique he could make the well-worn genre look.
If some studio were to bless Kurosawa with the finances to create an 8 hour gangster flick, I'm certain he'd run with the idea. Like his later films "The Serpent's Path" and "Eyes of the Spider", Kurosawa takes a central theme and tweaks it just enough to back end two films together in alternating fashion. Starring long time regular Sho Aikawa, "The Revenge; Parts 1 and 2" tracks a man's existence from goodly cop to incessant revenge-driven killer after his wife is murdered by the local yakuza. Part 1, titled "A Visit From Fate", is the better of the two parts, building up a slight back story for Aikawa's cop Anjo as his family is murdered before his eyes while he cowers in the closet as a scared five year old. Spared by the seemingly aloof killer, Anjo grows up to become a policeman. After a drug suspect kills himself when running from Anjo later in life, his body is picked up by a guardian, who turns out to be the seemingly benign killer who spared his life as a child. Anjo's tracking of the guardian leads him into the spotlight of a local yakuza gang, so they murder his wife as a warning. From there, Part 1 and Part 2, titled "A Scar That Never Disappears", follows Anjo on his quiet but violent quest to exact revenge.
"The Revenge" feels like a Takeshi Kitano film with all its blank faced gunfire and languid swagger. Anjo and the overweight yakuza member who soon becomes his primary target cross paths at least 4 times and fail to kill each other as they shoot from twenty yards apart, leaving their brawl to continue in the next scene... and then the scene after that. As Anjo, Sho Aikawa is emotionless... like the Asian Terminator. There are hints of yakuza hierarchy, but Kuroswawa's penchant for cutting out the most potent bits of information create an air of comedy as we simply follow Anjo and have to believe in his blood thirsty desire.
While sharing an affinity with his portentous horror films in editing, sound and calculated camera swivels, "The Revenge" plays far less seriously than those previous Kurosawa efforts. And there are still quiet moments of human interaction between the violence though. In Part 2, Aikawa befriends a young female student upstairs and charges her to mend him a suit, which she places on his door handle outside and is never picked up by Anjo. The tall, lanky yakuza member that Anjo spends most of his time with in Part 2 shares an appreciation of chess with Anjo, and they try and complete one game the entire movie as various interruptions always seem to pop up. "The Revenge Double Feature" does have one motive on its mind for most of its 3 hour running time, but the attention to humanity that creates the monsters in Kurosawa's unique universe is never far behind.
If some studio were to bless Kurosawa with the finances to create an 8 hour gangster flick, I'm certain he'd run with the idea. Like his later films "The Serpent's Path" and "Eyes of the Spider", Kurosawa takes a central theme and tweaks it just enough to back end two films together in alternating fashion. Starring long time regular Sho Aikawa, "The Revenge; Parts 1 and 2" tracks a man's existence from goodly cop to incessant revenge-driven killer after his wife is murdered by the local yakuza. Part 1, titled "A Visit From Fate", is the better of the two parts, building up a slight back story for Aikawa's cop Anjo as his family is murdered before his eyes while he cowers in the closet as a scared five year old. Spared by the seemingly aloof killer, Anjo grows up to become a policeman. After a drug suspect kills himself when running from Anjo later in life, his body is picked up by a guardian, who turns out to be the seemingly benign killer who spared his life as a child. Anjo's tracking of the guardian leads him into the spotlight of a local yakuza gang, so they murder his wife as a warning. From there, Part 1 and Part 2, titled "A Scar That Never Disappears", follows Anjo on his quiet but violent quest to exact revenge.
"The Revenge" feels like a Takeshi Kitano film with all its blank faced gunfire and languid swagger. Anjo and the overweight yakuza member who soon becomes his primary target cross paths at least 4 times and fail to kill each other as they shoot from twenty yards apart, leaving their brawl to continue in the next scene... and then the scene after that. As Anjo, Sho Aikawa is emotionless... like the Asian Terminator. There are hints of yakuza hierarchy, but Kuroswawa's penchant for cutting out the most potent bits of information create an air of comedy as we simply follow Anjo and have to believe in his blood thirsty desire.
While sharing an affinity with his portentous horror films in editing, sound and calculated camera swivels, "The Revenge" plays far less seriously than those previous Kurosawa efforts. And there are still quiet moments of human interaction between the violence though. In Part 2, Aikawa befriends a young female student upstairs and charges her to mend him a suit, which she places on his door handle outside and is never picked up by Anjo. The tall, lanky yakuza member that Anjo spends most of his time with in Part 2 shares an appreciation of chess with Anjo, and they try and complete one game the entire movie as various interruptions always seem to pop up. "The Revenge Double Feature" does have one motive on its mind for most of its 3 hour running time, but the attention to humanity that creates the monsters in Kurosawa's unique universe is never far behind.
Friday, May 20, 2011
Rangers Roadtrip
Well, I can now scratch one more ballpark off my list. A trip to cloudy and cool Kansas City yielded one great baseball game and some damn fine bar-b-que.
Beautiful, open air ballpark that feels terrific.
Wash having fun and tossing batting practice to his boys.
Elvis warming up.
Derek warming up... and who should have gotten a win after that gem of a game he pitched Thursday night. Luckily, we saw the Wednesday night game where the Rangers did all they could to lose the game, then win it in thrilling extra innings fashion.
One thing I'll never forget about Kaufmann Stadium.... they actually have their "KC Cheer Crew" girls come up after an inning and toss hotdogs into the stands. I guess the vendor walking by could see the open-mouthed gap on our faces and quickly said... "Texas fans huh? Yea.. I think this is weird too. Just wait, later in the game they shoot the hot dogs out of canons."
Beautiful, open air ballpark that feels terrific.
Wash having fun and tossing batting practice to his boys.
Elvis warming up.
Derek warming up... and who should have gotten a win after that gem of a game he pitched Thursday night. Luckily, we saw the Wednesday night game where the Rangers did all they could to lose the game, then win it in thrilling extra innings fashion.
One thing I'll never forget about Kaufmann Stadium.... they actually have their "KC Cheer Crew" girls come up after an inning and toss hotdogs into the stands. I guess the vendor walking by could see the open-mouthed gap on our faces and quickly said... "Texas fans huh? Yea.. I think this is weird too. Just wait, later in the game they shoot the hot dogs out of canons."
Wednesday, May 11, 2011
Top 5 List: More Songs That Should Be Used In a Movie
5. Smog: Teenage Spaceship
Probably my very favorite Bill Callahan song... subdued, heartbreaking and perfect for one of those long take scenes as someone peers longingly out a window or set to a montage of images. And if I see this scene in a film over the next year, I'm yelling concept copyright infringment.
4. Radiohead: Kinectic
Known for the stingy use of their music in popular art (except, seemingly, for Baz Luhrman and his "Romeo and Juliet" experiment in the mid 90's), this B-side Radiohead track from their "Amnesiac" years is hypnotic to say the least and would fit right in with one of those grungy British kitchen-sink films or maybe a David Lynch epic?
3. The Appleseed Cast- Sunlit Ascending
This relatively unknown (but great) Kansas band deserves bigger success, and what bigger way than tacking this song at the end of a movie where the main character talks directly into the camera about his major emotional breakthrough, cutting to black and this song interrupts.....
2. Beck- Guess I'm Doing Fine
Words don't work in describing this song. Use your imagination for where this song belongs.
1. Radiohead: Last Flowers
Again, so much of their music elicits strong emotions, and "Last Flowers", off their b-sides release to "In Rainbows", would fit nicely into numerous works of art where the lulling piano and Thom Yorke's strained voice add considerable depth to the image.
And a bonus video... for a song that HAS been featured prominently in a movie ("In Between Days") and still stands as one of my faves.
Probably my very favorite Bill Callahan song... subdued, heartbreaking and perfect for one of those long take scenes as someone peers longingly out a window or set to a montage of images. And if I see this scene in a film over the next year, I'm yelling concept copyright infringment.
4. Radiohead: Kinectic
Known for the stingy use of their music in popular art (except, seemingly, for Baz Luhrman and his "Romeo and Juliet" experiment in the mid 90's), this B-side Radiohead track from their "Amnesiac" years is hypnotic to say the least and would fit right in with one of those grungy British kitchen-sink films or maybe a David Lynch epic?
3. The Appleseed Cast- Sunlit Ascending
This relatively unknown (but great) Kansas band deserves bigger success, and what bigger way than tacking this song at the end of a movie where the main character talks directly into the camera about his major emotional breakthrough, cutting to black and this song interrupts.....
2. Beck- Guess I'm Doing Fine
Words don't work in describing this song. Use your imagination for where this song belongs.
1. Radiohead: Last Flowers
Again, so much of their music elicits strong emotions, and "Last Flowers", off their b-sides release to "In Rainbows", would fit nicely into numerous works of art where the lulling piano and Thom Yorke's strained voice add considerable depth to the image.
And a bonus video... for a song that HAS been featured prominently in a movie ("In Between Days") and still stands as one of my faves.
Thursday, May 05, 2011
Musings
Nothing really special to say this week. The glut of near summer movies (i.e. "Thor", "Fast Five") is brain numbing and nothing has gotten me to the theater in a couple weeks. The exception was James Gunn's all-over-the-map indie superhero 'comedy' "Super". It has its moments (Ellen Page especially) but one knows the superhero motif has run its course (much like the zombie genre) when all fragments of the genre have been explored. We now have a low-budget take on the idea. What's left... the mockumentary where a group of elderly citizens dress up and patrol the streets at night? But, hopefully the tide is turning with some interesting fare in the upcoming weeks, "Meek's Cutoff" especially.
Secondly, the Cannes Film Festival gears up, and this clip from Nicolas Winding Refn's upcoming moving entitled "Drive" looks and feels spectacular....as if Walter Hill or Michael Mann had breathed life into the now tired fast-car-movie. Hopefully this film and others at Cannes expose us to some terrific things.
And finally, does anyone remember this:
Going through some boxes of books yesterday, I came across this blast from the past. In the mid 90's, I signed up as a member of Home Film Festival and received this program guide. The idea, renting movies through the mail for flat fees and postage paid, was brand spanking new and I jumped at the chance. Granted, we're talking about VHS tapes here, but for someone with a unique passion of finding films one could not find anywhere else, this was terrific. Home Film Festival exposed me to the films of Jean Pierre Melville, Hou Hsiao Hsien, hard to find Godard, and Lars von Trier. I remember only ordering five or six times, with the pricing of 16 bucks for three tapes, and the idea of actually calling and speaking to someone with ID numbers and titles is definitely antiquated in this streaming and rapid Internet environment, but it got the job done. Good times indeed. I'm glad for the current existence of DVD-R's and Netflix, but there's a special place in my heart for combing through this guide and then having to wait 4-5 days for my VHS selections to arrive. Drop a comment if you remember other pre-Netflix methods of home film exposure.
Secondly, the Cannes Film Festival gears up, and this clip from Nicolas Winding Refn's upcoming moving entitled "Drive" looks and feels spectacular....as if Walter Hill or Michael Mann had breathed life into the now tired fast-car-movie. Hopefully this film and others at Cannes expose us to some terrific things.
And finally, does anyone remember this:
Going through some boxes of books yesterday, I came across this blast from the past. In the mid 90's, I signed up as a member of Home Film Festival and received this program guide. The idea, renting movies through the mail for flat fees and postage paid, was brand spanking new and I jumped at the chance. Granted, we're talking about VHS tapes here, but for someone with a unique passion of finding films one could not find anywhere else, this was terrific. Home Film Festival exposed me to the films of Jean Pierre Melville, Hou Hsiao Hsien, hard to find Godard, and Lars von Trier. I remember only ordering five or six times, with the pricing of 16 bucks for three tapes, and the idea of actually calling and speaking to someone with ID numbers and titles is definitely antiquated in this streaming and rapid Internet environment, but it got the job done. Good times indeed. I'm glad for the current existence of DVD-R's and Netflix, but there's a special place in my heart for combing through this guide and then having to wait 4-5 days for my VHS selections to arrive. Drop a comment if you remember other pre-Netflix methods of home film exposure.
Sunday, May 01, 2011
Produced and Abandoned #10
Ten more movies that deserve a mainstream region 1 DVD release:
1. City of Hope (1991)- Thank God John Sayles is working again and with a new movie coming out later this year, it got me thinking about this early 90's "mosaic" film which charts numerous subplots in a story of urban politics. I've only seen it twice on VHS years ago and wonder how it holds up today. With a majority of Sayles' fine work available on DVD, this one is a head scratcher.
2. United Red Army (2007)- Japanese director Koji Wakamatsu's three hour epic about the violent internal and external clashes of a terrorist group has screened all over the world at festivals and garnered a French DVD release, but that's all. I've read the final hour of this film- as police attack the Red Army compound- is tremendous. Wakamatsu has led a lengthy and varied career so I suppose the delay on "United Red Army" is no real surprise.
3. The Beaver Trilogy (2000)- Ok, first off I have no idea how good or interesting this experimental project actually is, but the thought of Crispin Glover and Sean Penn playacting the very strange existence of one man named Groovin Gary sounds alluring. I've stumbled across it at various bootleg sites, but never pulled the trigger and paid for it. Thoughts?
4. The Jerusalem File (1972)- Director John Flynn (whose made this list with great, under seen films like "The Outfit" and "Rolling Thunder") adapted this short novel into a 1972 film starring Bruce Davison as an idealistic college student caught up in international politics and violence. With Flynn's track record, I think this could be something great.
5. The Black Windmill (1974)- Starring Michael Caine, directed by Don Siegel... spies and international intrigue. What's not to like.. and I see its available to watch on YouTube!
6. Vanya on 42nd Street (1994)- One of the several Louis Malle films not available on DVD, this was a mainstay on IFC back in the day, starring a young Julianne Moore as an actress rehearsing a play in their studio. The complete lack of costumes and artifice was especially riveting and Malle's gentle touch was evident. A great little film.
7. And God Said To Cain (1970)-Supposedly tough little spaghetti revenge western starring Klaus Kinski. All of the reviews I've read for this film- which apparently stem from a now OOP poor transfer DVD- sound intriguing, with the big standoff happening within the first act, allowing the film to break usual narrative constraints.
8. Knock On Any Door (1947)- So little of Nicholas Ray's films are readily available on DVD, and this his debut, is one of them. It does air on TCM later this month, though.
9. The Seduction of Joe Tynan (1978)- Alan Alda as a senator involved with Supreme Court objections and his increasingly strained home life. Also starring Meryl Streep, "The Seduction of Joe Tynan" sounds like a promising and intelligent political drama. Too bad MGM, one of the studios awfully inept at home video releases, has never really put any faith behind this film. Update: looks like the film was just added to Netflix streaming today, May 3rd!
10. Go Now(1995)- One of Michael Winterbottom's first films about the relationship between a soccer player (Robert Carlyle) whose body begins to betray him. Another indie stalwart that made the rounds on IFC back in the late 90's. Winterbottom, one of my favorite directors, makes this film work despite the mawkish storyline and Carlyle is terrific. It deserves a wide release on DVD.
1. City of Hope (1991)- Thank God John Sayles is working again and with a new movie coming out later this year, it got me thinking about this early 90's "mosaic" film which charts numerous subplots in a story of urban politics. I've only seen it twice on VHS years ago and wonder how it holds up today. With a majority of Sayles' fine work available on DVD, this one is a head scratcher.
2. United Red Army (2007)- Japanese director Koji Wakamatsu's three hour epic about the violent internal and external clashes of a terrorist group has screened all over the world at festivals and garnered a French DVD release, but that's all. I've read the final hour of this film- as police attack the Red Army compound- is tremendous. Wakamatsu has led a lengthy and varied career so I suppose the delay on "United Red Army" is no real surprise.
3. The Beaver Trilogy (2000)- Ok, first off I have no idea how good or interesting this experimental project actually is, but the thought of Crispin Glover and Sean Penn playacting the very strange existence of one man named Groovin Gary sounds alluring. I've stumbled across it at various bootleg sites, but never pulled the trigger and paid for it. Thoughts?
4. The Jerusalem File (1972)- Director John Flynn (whose made this list with great, under seen films like "The Outfit" and "Rolling Thunder") adapted this short novel into a 1972 film starring Bruce Davison as an idealistic college student caught up in international politics and violence. With Flynn's track record, I think this could be something great.
5. The Black Windmill (1974)- Starring Michael Caine, directed by Don Siegel... spies and international intrigue. What's not to like.. and I see its available to watch on YouTube!
6. Vanya on 42nd Street (1994)- One of the several Louis Malle films not available on DVD, this was a mainstay on IFC back in the day, starring a young Julianne Moore as an actress rehearsing a play in their studio. The complete lack of costumes and artifice was especially riveting and Malle's gentle touch was evident. A great little film.
7. And God Said To Cain (1970)-Supposedly tough little spaghetti revenge western starring Klaus Kinski. All of the reviews I've read for this film- which apparently stem from a now OOP poor transfer DVD- sound intriguing, with the big standoff happening within the first act, allowing the film to break usual narrative constraints.
8. Knock On Any Door (1947)- So little of Nicholas Ray's films are readily available on DVD, and this his debut, is one of them. It does air on TCM later this month, though.
9. The Seduction of Joe Tynan (1978)- Alan Alda as a senator involved with Supreme Court objections and his increasingly strained home life. Also starring Meryl Streep, "The Seduction of Joe Tynan" sounds like a promising and intelligent political drama. Too bad MGM, one of the studios awfully inept at home video releases, has never really put any faith behind this film. Update: looks like the film was just added to Netflix streaming today, May 3rd!
10. Go Now(1995)- One of Michael Winterbottom's first films about the relationship between a soccer player (Robert Carlyle) whose body begins to betray him. Another indie stalwart that made the rounds on IFC back in the late 90's. Winterbottom, one of my favorite directors, makes this film work despite the mawkish storyline and Carlyle is terrific. It deserves a wide release on DVD.
Saturday, April 23, 2011
An Appreciation: Elaine May
There was little room for women in the new brat pack of the 70's. Either marginalized to the independent fringes such as Barbara Loden or encapsulated within international cinema in the likes of Line Wertmuller or Agnes Varda, the machismo-enraged ticket buyers were interested in large, deadly sharks or casting a fresh eye on the mean streets of New York. But there was another director who produced three stunning films in a five year creative burst amongst the boys. Elaine May. Coming to the silver screen by way of Broadway (and with ex-comedy partner/writer Mike Nichols on her roster of good friends), May never quite got the respect she deserves.... in my opinion at least.
Her initial film, "A New Leaf", which she also wrote, was released in 1971 to good reviews but little box office. Watching it today, not only does it crystallize May's unique ability to write witty (and hilarious) dialogue, but it begins her fascination with the simple interaction between two divergent souls... a theme that will be explored in all her films. Starring Walter Mattheau as a bankrupt New York playboy forced to marry the clumsy and nerdy Henrietta (May in a supporting role) for her money, "A New Leaf" avoids the trappings of its sitcom set-up that many films might have fallen into through its innocent, gleeful and almost Chaplin-esque qualities. Look no further than the awkward meeting of playboy Graham and Henrietta. Comparing it to most comedies of the last 40 years, not only is "A New Leaf" a terrific and tone-perfect debut, but still funny as hell.
In 1972, May directed her second film entitled "The Heartbreak Kid"- which I personally consider her very best. Despite the terminally awful remake by the Farrelly Brothers a few years ago, which fails to capture the supreme awkwardness or humanity of the original, May's film remains an accurate-feeling thermometer of the times. Charles Grodin stars as Lenny Cantrow, newly married to Lila (Jeannie Berlin) and on vacation in Miami for their honeymoon when he meets the much younger and attractive Kelly (a stunning Cybil Shepherd). Growing increasingly addicted to Kelly's beauty Lenny begins to make drastic choices. "The Heartbreak Kid" is a comedy... just a very dark and unsettling one. Inharmonious matrimony and the idea of separating from the stable life established by their 1950's parents, early 70's cinema bore this unrest like a badge of honor. From Cassavetes in "Husbands" to Ingmar Bergman's scathing examination of a marriage on the brink in "Scenes From a Marriage", "The Heartbreak Kid" feels right at home with this malaise, albeit with a smirk and whimper rather than existential guilt. The scene in a seafood restaurant when Lenny tries to announce his feelings about his new found young love goes on for what feels like forever, leaving Lila a crying, miserable mess and the fellow onlookers forced to confront this couple's apocalypse with them. It's a moment alternatively sad and side-splitting funny, with Lenny desperately attempting to talk his way out of it (as he's done most of the movie) and Lila, crying, gasping for air as if she's been gut punched. And in all honesty, May's film does create the alternate life of Lenny and beautiful young Kelly as something more healthy and satisfying. But even then, like her ex-partner's generation-setting masterpiece "The Graduate" 3 years earlier, "The Heartbreak Kid" ends on a resoundingly depressing note for a comedy even after Lenny succeeds in his goal. While "The Heartbreak Kid" does surpass the expectations of a great (if uncomfortable) comedy, it also features some indelible image making, such as the first appearance of Cybil Shepherd, with her face blocking out the sun of a relaxing Lenny on the beach, which in and of itself deserves to be regarded as one of the finest entrances in screen history.
In 1976, May wrote and directed "Mikey and Nicky", a modest drama starring Peter Falk and John Cassavetes. Filmed mostly on location in New York, the film remains May's most potent examination of friendship soured by external forces. Cassavetes plays Nicky, a low rent member of a crime organization holed up for some oblique act he committed against the boss. His best friend, Nicky (Peter Falk) is tasked to murder Mikey. The two men spend a nervous night and morning together as the questions of will he or won't he continue to surface. Played in long takes and full of awkward stammering and the usual Cassavtes-like improv set pieces filled with booze and nervous laughter, "Mikey and Nicky" infuses every moment with bustling New York life and congested street noise. It's certainly May's most visually aggressive film, and one where the subject matter seems to lend confidence, such as a tension-filled scene in a diner where we carefully wait for a payphone to ring. The parlay between Falk and Cassavetes grows stronger as the psychological games mount. Fitting comfortably in neither the crime genre or the buddy movie, "Micky and Nicky" is truly an effort that defies categorization.
Then there was "Ishtar". Released in 1987 at a staggering budget for a comedy, amidst rumors of director and star discontent and unanimously negative reviews, it's a film that basically killed May's career behind the camera. Starring Warren Beatty and Dustin Hoffman as lounge singers who embark on a circuit tour in Morocco and end up being mistaken for CIA operatives, the film's out of proportion legend far proceeds its actual merit. All of that to say it's not a terrible film, consistently funny and completely indicative of the 1980's buddy comedies of Akroyd, Chase and Murphy.
One of the biggest laughs I can remember having at the film is its typical Elaine May conversation that skewers both politics and the almighty dollar. While being 'recruited' in Morocco by CIA officer Charles Grodin, he lures Hoffman with the line of... "we'll pay you 150 dollars a week"... Hoffman- "really?" Grodin- "sure, I mean you can't really put a price on democracy". Then there's the blind camel scene that plays like a another reference to Chaplin... and Hoffman's impersonation of an Arabic auctioneer in the desert... jokes and scenes that feel like rocket science compared to the gross out humor and juvenile antics of current comedies. "Ishtar" certainly doesn't deserve the banishment it's refined in certain circles today, and its a supreme shame that May has never rebounded from the personal and bureaucratic offenses stirred up by the film. She's much too talented to be sitting in the wings. Now, if we could only get a few of these films available on DVD, maybe the retrospective appreciation could begin.
Her initial film, "A New Leaf", which she also wrote, was released in 1971 to good reviews but little box office. Watching it today, not only does it crystallize May's unique ability to write witty (and hilarious) dialogue, but it begins her fascination with the simple interaction between two divergent souls... a theme that will be explored in all her films. Starring Walter Mattheau as a bankrupt New York playboy forced to marry the clumsy and nerdy Henrietta (May in a supporting role) for her money, "A New Leaf" avoids the trappings of its sitcom set-up that many films might have fallen into through its innocent, gleeful and almost Chaplin-esque qualities. Look no further than the awkward meeting of playboy Graham and Henrietta. Comparing it to most comedies of the last 40 years, not only is "A New Leaf" a terrific and tone-perfect debut, but still funny as hell.In 1972, May directed her second film entitled "The Heartbreak Kid"- which I personally consider her very best. Despite the terminally awful remake by the Farrelly Brothers a few years ago, which fails to capture the supreme awkwardness or humanity of the original, May's film remains an accurate-feeling thermometer of the times. Charles Grodin stars as Lenny Cantrow, newly married to Lila (Jeannie Berlin) and on vacation in Miami for their honeymoon when he meets the much younger and attractive Kelly (a stunning Cybil Shepherd). Growing increasingly addicted to Kelly's beauty Lenny begins to make drastic choices. "The Heartbreak Kid" is a comedy... just a very dark and unsettling one. Inharmonious matrimony and the idea of separating from the stable life established by their 1950's parents, early 70's cinema bore this unrest like a badge of honor. From Cassavetes in "Husbands" to Ingmar Bergman's scathing examination of a marriage on the brink in "Scenes From a Marriage", "The Heartbreak Kid" feels right at home with this malaise, albeit with a smirk and whimper rather than existential guilt. The scene in a seafood restaurant when Lenny tries to announce his feelings about his new found young love goes on for what feels like forever, leaving Lila a crying, miserable mess and the fellow onlookers forced to confront this couple's apocalypse with them. It's a moment alternatively sad and side-splitting funny, with Lenny desperately attempting to talk his way out of it (as he's done most of the movie) and Lila, crying, gasping for air as if she's been gut punched. And in all honesty, May's film does create the alternate life of Lenny and beautiful young Kelly as something more healthy and satisfying. But even then, like her ex-partner's generation-setting masterpiece "The Graduate" 3 years earlier, "The Heartbreak Kid" ends on a resoundingly depressing note for a comedy even after Lenny succeeds in his goal. While "The Heartbreak Kid" does surpass the expectations of a great (if uncomfortable) comedy, it also features some indelible image making, such as the first appearance of Cybil Shepherd, with her face blocking out the sun of a relaxing Lenny on the beach, which in and of itself deserves to be regarded as one of the finest entrances in screen history.
In 1976, May wrote and directed "Mikey and Nicky", a modest drama starring Peter Falk and John Cassavetes. Filmed mostly on location in New York, the film remains May's most potent examination of friendship soured by external forces. Cassavetes plays Nicky, a low rent member of a crime organization holed up for some oblique act he committed against the boss. His best friend, Nicky (Peter Falk) is tasked to murder Mikey. The two men spend a nervous night and morning together as the questions of will he or won't he continue to surface. Played in long takes and full of awkward stammering and the usual Cassavtes-like improv set pieces filled with booze and nervous laughter, "Mikey and Nicky" infuses every moment with bustling New York life and congested street noise. It's certainly May's most visually aggressive film, and one where the subject matter seems to lend confidence, such as a tension-filled scene in a diner where we carefully wait for a payphone to ring. The parlay between Falk and Cassavetes grows stronger as the psychological games mount. Fitting comfortably in neither the crime genre or the buddy movie, "Micky and Nicky" is truly an effort that defies categorization.
Then there was "Ishtar". Released in 1987 at a staggering budget for a comedy, amidst rumors of director and star discontent and unanimously negative reviews, it's a film that basically killed May's career behind the camera. Starring Warren Beatty and Dustin Hoffman as lounge singers who embark on a circuit tour in Morocco and end up being mistaken for CIA operatives, the film's out of proportion legend far proceeds its actual merit. All of that to say it's not a terrible film, consistently funny and completely indicative of the 1980's buddy comedies of Akroyd, Chase and Murphy.
One of the biggest laughs I can remember having at the film is its typical Elaine May conversation that skewers both politics and the almighty dollar. While being 'recruited' in Morocco by CIA officer Charles Grodin, he lures Hoffman with the line of... "we'll pay you 150 dollars a week"... Hoffman- "really?" Grodin- "sure, I mean you can't really put a price on democracy". Then there's the blind camel scene that plays like a another reference to Chaplin... and Hoffman's impersonation of an Arabic auctioneer in the desert... jokes and scenes that feel like rocket science compared to the gross out humor and juvenile antics of current comedies. "Ishtar" certainly doesn't deserve the banishment it's refined in certain circles today, and its a supreme shame that May has never rebounded from the personal and bureaucratic offenses stirred up by the film. She's much too talented to be sitting in the wings. Now, if we could only get a few of these films available on DVD, maybe the retrospective appreciation could begin.
Tuesday, April 19, 2011
On Hanna
There's no doubt that director Joe Wright loves all that's technically dazzling when it comes to camera movements. The much talked about tracking shot in his 2007 film "Atonement" is self indulgent, yet my heart still races when I realize I'm in the midst of a specially arranged tracking shot that dares to visualize certain narrative points in unique and challenging ways. While there's not quite the length of this shot anywhere in his latest film, "Hanna", Wright does showcase several technical moments of brilliance in a film that otherwise feels remote.
Starring the young Sairose Ronan- who has quickly amassed a few roles that pose her as an energetic new talent on the brink of something great- "Hanna" sets up the premise that she is a fresh-faced killing machine, trained in the wilderness by her ex-CIA father (Eric Bana) and chased relentlessly by government figure head Cate Blanchett. The moment young Hanna is captured and her innate ability to run, survive and shoot weapons becomes imminent, "Hanna" turns into an eye-catching, post-punk fast and furious romp across downright weird locales bracketed against the techno thumpings of The Chemical Brothers. If nothing else, "Hanna" feels like a modern revenge grrl fantasy, filled with innovative cinematography (by the great Alwin Kulcher) and jaw-dropping set pieces.... such as the image of the very evil Cate Blanchett emerging, literally, from a giant wolf's mouth in an abandoned amusement park. Thrown into the mix is Ronan's dough-eyed connection with the outside world and a friendship with a fellow teenager (Jessica Barden) that quietly slows down the middle section of the film into an offbeat coming of age tale. But its not long before director Wright re-emerges with bullets, sadistic German bounty hunters and lots and lots of running.
Ultimately, I'm split on "Hanna". One side of me wants to celebrate the uniqueness of the film through Wright's esoteric style of filmmaking... such as the long handheld shot of Eric Bana through a bus station, down an elevator and into an underground parking garage where a quick fight ensues with a half dozen agents wanting to bring him in. There's yet another scene early in the film that explores some of Hanna's background, where a handheld tracking shot slowly follows Blanchett's fatal walk up to a burning car. While I loved every second of the anticipation of what was to come, I could hear the grumbling in front of me of "hurry up already". Clearly, parts of "Hanna" are not for mass consumption... and that alone should be enough to recommend. But there's never really a solid connection established for Hanna as a person. It's all surface, neon lights and, at times, MTV-video style ediitng... all aspects of modern film that don't quite lend themselves to strong character interaction. "Hanna" is a noble effort, but not quite. For me, that's the most frustrating thing about 2011 so far and the number of "almost greats" and "not quites".
Starring the young Sairose Ronan- who has quickly amassed a few roles that pose her as an energetic new talent on the brink of something great- "Hanna" sets up the premise that she is a fresh-faced killing machine, trained in the wilderness by her ex-CIA father (Eric Bana) and chased relentlessly by government figure head Cate Blanchett. The moment young Hanna is captured and her innate ability to run, survive and shoot weapons becomes imminent, "Hanna" turns into an eye-catching, post-punk fast and furious romp across downright weird locales bracketed against the techno thumpings of The Chemical Brothers. If nothing else, "Hanna" feels like a modern revenge grrl fantasy, filled with innovative cinematography (by the great Alwin Kulcher) and jaw-dropping set pieces.... such as the image of the very evil Cate Blanchett emerging, literally, from a giant wolf's mouth in an abandoned amusement park. Thrown into the mix is Ronan's dough-eyed connection with the outside world and a friendship with a fellow teenager (Jessica Barden) that quietly slows down the middle section of the film into an offbeat coming of age tale. But its not long before director Wright re-emerges with bullets, sadistic German bounty hunters and lots and lots of running.
Ultimately, I'm split on "Hanna". One side of me wants to celebrate the uniqueness of the film through Wright's esoteric style of filmmaking... such as the long handheld shot of Eric Bana through a bus station, down an elevator and into an underground parking garage where a quick fight ensues with a half dozen agents wanting to bring him in. There's yet another scene early in the film that explores some of Hanna's background, where a handheld tracking shot slowly follows Blanchett's fatal walk up to a burning car. While I loved every second of the anticipation of what was to come, I could hear the grumbling in front of me of "hurry up already". Clearly, parts of "Hanna" are not for mass consumption... and that alone should be enough to recommend. But there's never really a solid connection established for Hanna as a person. It's all surface, neon lights and, at times, MTV-video style ediitng... all aspects of modern film that don't quite lend themselves to strong character interaction. "Hanna" is a noble effort, but not quite. For me, that's the most frustrating thing about 2011 so far and the number of "almost greats" and "not quites".
Saturday, April 16, 2011
The Alphabet Meme
An interesting idea.. and an experiment that tests ones recollection for movie titles at the drop of a hat, but fun nonetheless. Started by the terrific Rupert Pupkin Speaks blog, this meme asks that each participant list their favorite (or random) movie titles alphabetically. There are all types of diversions, so be sure to click on the participants and discover some great movies. So, without further adieu, here's my very 70's edition:
A is for All the President's Men because no other film justifies the idea of truth being in the details... and I hold my breath to this day everytime Pakula films someone simply dialing a phone.
B is for Badlands because the sweet innocence between Sissy Spacek and Martin Sheen still impresses today. And you know, its Malick.
C is for Cemetery Without Crosses, one of the best non Sergio Leone revenge westerns of the late 60's and early 70's..
D is for Day of the Jackal, another riveting 70's police procedural that boasts an international cast and flawless storytelling.
E is for The Exorcist because one its a great film, meticulously framed and edited and two, its damn hard to come up with any other "e" titles of the 70's.
F is for Un Flic, aka "Dirty Money", and the great Jean Pierre Melville's final film about a bank robbery that tailors his penchant for doomed criminals and fatalistic hues. And I'm sorry, but no one films guys in trench coats walking around quite like Melville.
G is for Get Carter because the British are just ballsy about their lone-man-on-a-revenge-spree movies. And Michale Caine is Carter!
H is for Husbands because you know at least one Cassavetes film has to make its way onto this list and for that 30 minute diner scene that runs uncomfortably long like only Cassavetes can orchestrate. In his films, dinners are often like slasher films.
I is for Idaho Transfer. Once available on DVD but now sadly OOP, Peter Fonda's hugely under appreciated time travel movie is definitely a relic of the early 70's, with hippie students playing with time and creating some drastic consequences. Look for it.
J is for Junior Bonner because not only is Steve McQueen a majestic bad ass, but this is probably my favorite Peckinpah film.
K is for The Kremlin Letter. This fun, convoluted spy thriller saw venerable director John Huston move into the 70's (for my money, his most creative period) with a bang. Hard to find, but it does air on cable sometimes and well worth the DVR set.
L is for The Last Picture Show. So many great L titles I could have chosen here, but I have to go with my fav in "The Last Picture Show" because, 40 years on, this film still inhabits the Texas landscape like no other and so closely nails the feelings, moods and whims of the state I call home.
M is for The Master Touch, a well plotted, brilliant heist film that tackles that age old theme of the 'old criminal and his one last job'. Kirk Douglas, doing what many aging film actors did in the 70's, stars in this Italian production of that great genre known as Euro-crime and succeeds with dazzling results. Available on a bare-bones DVD so Netflix it now.
N is for The Nickel Ride, another seemingly forgotten, modest mid 70's character study about a wheeling and dealing neighborhood crime boss trying to hold onto his sanity as modern progress and personal upheavel threaten to override his lifestyle. Jason Miller is terrific and the film darts in several directions that are shocking.
O is for The Odessa File, Jon Voight's best film, directed by the workmanlike (and recently deceased) Ronald Neame that dares to place Nazi hunting into the mainstream.
P is for The Passenger, a thriller like no other, helmed by auteur Michealangelo Antonioni and infused with that sublime paranoia rampant in 70's cinema, made all the more quizzical through Antonioni's methodical avant garde gaze.
Q is for Quintet. Robert Altman's most misunderstood effort? Probably, and not near as bad as everyone claims. In fact, the re-emergence of cold, clinical sci-fi films like "Code 46", "Gattaca" and "The Island" probably owe this film a huge debt.
R is for Return From Witch Mountain, which not only remains one of my very favorite films as a kid, but the one that got me hopelessly attracted to Kim Richards and made me pay to go see movies like "Tuff Turf".
S is for Smile because a re-watch lately makes me think Michael Ritchie's panaromic view of mid 70's California against the backdrop of a beauty contest just might be better than "Nashville". Discuss.
T is for Three Days of the Condor. More trend setting paranoia from the 70's.... can't possibly leave this one off the list.
U is for Up In Smoke. On a Saturday night at 2am, watch this and see if you don't laugh until it hurts.
V is for Vanishing Point. Like the title, somewhere along the half way point, this film becomes something else besides a chase movie. Only in the 70's could artists take something as mundane as muscle cars and transform them into a mythical quest across the cosmos.
W is for Wedding In Blood, Claude Chabrol's deeply moving tale of infidelity dwarfs anything else he made in the 70's. Enigmatic at times, the title alone should tell one this is an alienating study, but well worth the effort to track down and see.
Y is for The Yakuza because Mitchum, like Kirk Douglas earlier, travels to Japan and kicks ass in some great Euro-crime. Sydney Pollack behind the camera doesn't hurt either.
Z is for Zombie, one of those illogically edited and filmed Lucio Fulci splatter fests that always brings a smile to my face when I watch it.
A is for All the President's Men because no other film justifies the idea of truth being in the details... and I hold my breath to this day everytime Pakula films someone simply dialing a phone.
B is for Badlands because the sweet innocence between Sissy Spacek and Martin Sheen still impresses today. And you know, its Malick.
C is for Cemetery Without Crosses, one of the best non Sergio Leone revenge westerns of the late 60's and early 70's..
D is for Day of the Jackal, another riveting 70's police procedural that boasts an international cast and flawless storytelling.
E is for The Exorcist because one its a great film, meticulously framed and edited and two, its damn hard to come up with any other "e" titles of the 70's.
F is for Un Flic, aka "Dirty Money", and the great Jean Pierre Melville's final film about a bank robbery that tailors his penchant for doomed criminals and fatalistic hues. And I'm sorry, but no one films guys in trench coats walking around quite like Melville.
G is for Get Carter because the British are just ballsy about their lone-man-on-a-revenge-spree movies. And Michale Caine is Carter!
H is for Husbands because you know at least one Cassavetes film has to make its way onto this list and for that 30 minute diner scene that runs uncomfortably long like only Cassavetes can orchestrate. In his films, dinners are often like slasher films.
I is for Idaho Transfer. Once available on DVD but now sadly OOP, Peter Fonda's hugely under appreciated time travel movie is definitely a relic of the early 70's, with hippie students playing with time and creating some drastic consequences. Look for it.
J is for Junior Bonner because not only is Steve McQueen a majestic bad ass, but this is probably my favorite Peckinpah film.
K is for The Kremlin Letter. This fun, convoluted spy thriller saw venerable director John Huston move into the 70's (for my money, his most creative period) with a bang. Hard to find, but it does air on cable sometimes and well worth the DVR set.
L is for The Last Picture Show. So many great L titles I could have chosen here, but I have to go with my fav in "The Last Picture Show" because, 40 years on, this film still inhabits the Texas landscape like no other and so closely nails the feelings, moods and whims of the state I call home.
M is for The Master Touch, a well plotted, brilliant heist film that tackles that age old theme of the 'old criminal and his one last job'. Kirk Douglas, doing what many aging film actors did in the 70's, stars in this Italian production of that great genre known as Euro-crime and succeeds with dazzling results. Available on a bare-bones DVD so Netflix it now.
N is for The Nickel Ride, another seemingly forgotten, modest mid 70's character study about a wheeling and dealing neighborhood crime boss trying to hold onto his sanity as modern progress and personal upheavel threaten to override his lifestyle. Jason Miller is terrific and the film darts in several directions that are shocking.
O is for The Odessa File, Jon Voight's best film, directed by the workmanlike (and recently deceased) Ronald Neame that dares to place Nazi hunting into the mainstream.
P is for The Passenger, a thriller like no other, helmed by auteur Michealangelo Antonioni and infused with that sublime paranoia rampant in 70's cinema, made all the more quizzical through Antonioni's methodical avant garde gaze.
Q is for Quintet. Robert Altman's most misunderstood effort? Probably, and not near as bad as everyone claims. In fact, the re-emergence of cold, clinical sci-fi films like "Code 46", "Gattaca" and "The Island" probably owe this film a huge debt.
R is for Return From Witch Mountain, which not only remains one of my very favorite films as a kid, but the one that got me hopelessly attracted to Kim Richards and made me pay to go see movies like "Tuff Turf".
S is for Smile because a re-watch lately makes me think Michael Ritchie's panaromic view of mid 70's California against the backdrop of a beauty contest just might be better than "Nashville". Discuss.
T is for Three Days of the Condor. More trend setting paranoia from the 70's.... can't possibly leave this one off the list.
U is for Up In Smoke. On a Saturday night at 2am, watch this and see if you don't laugh until it hurts.
V is for Vanishing Point. Like the title, somewhere along the half way point, this film becomes something else besides a chase movie. Only in the 70's could artists take something as mundane as muscle cars and transform them into a mythical quest across the cosmos.
W is for Wedding In Blood, Claude Chabrol's deeply moving tale of infidelity dwarfs anything else he made in the 70's. Enigmatic at times, the title alone should tell one this is an alienating study, but well worth the effort to track down and see.
Y is for The Yakuza because Mitchum, like Kirk Douglas earlier, travels to Japan and kicks ass in some great Euro-crime. Sydney Pollack behind the camera doesn't hurt either.
Z is for Zombie, one of those illogically edited and filmed Lucio Fulci splatter fests that always brings a smile to my face when I watch it.
Saturday, April 09, 2011
Random Thoughts
First off... new television. I'm not sure how I got turned onto AMC's new show "The Killing". I rarely watch AMC for their butchering of classic movies with commercials. Maybe it was advertised on the last season of "Breaking Bad" I watched on DVD. Regardless, a fantastic show after just two episodes. The choice of basing its harrowing and sad tale of a pretty 17 year old girl's murder in dreary Seattle is somehow fitting and takes the atmosphere to a whole new level. Lead actress Mireille Enos perfectly portrays a female detective drawn back into the murder on her last day before retiring and starting a new life in San Francisco. The faces she makes when her new partner makes the family a promise to find the killer.... the tired way in which she questions a witness... the lackadaisical strut in which she carries herself establish the character as a new spin on old genre tropes. Set the DVR's.
New music. Two old dogs have resurfaced to make some new noise. First, J Mascis of Dinosaur Jr fame just released a blistering solo album that combines melancholy acoustic numbers mixed in with his heavier trademark slurred guitar. Admittedly, Mascis really always was Dinosaur Jr. so any new work from him makes me very happy.
Unlike Dinosaur Jr, its debatable whether Thurston Moore was the singular driving force behind Sonic Youth's wall of sound. His latest solo album entitled "Demolished Thoughts", due to be released in May, knocked me over with the first song introduced last week. I can't wait for this one.
And finally, RIP to the great Sidney Lumet. I'm extremely glad I completed a retrospective of his work a few years ago. He will be missed on the cinematic landscape.
New music. Two old dogs have resurfaced to make some new noise. First, J Mascis of Dinosaur Jr fame just released a blistering solo album that combines melancholy acoustic numbers mixed in with his heavier trademark slurred guitar. Admittedly, Mascis really always was Dinosaur Jr. so any new work from him makes me very happy.
Unlike Dinosaur Jr, its debatable whether Thurston Moore was the singular driving force behind Sonic Youth's wall of sound. His latest solo album entitled "Demolished Thoughts", due to be released in May, knocked me over with the first song introduced last week. I can't wait for this one.
And finally, RIP to the great Sidney Lumet. I'm extremely glad I completed a retrospective of his work a few years ago. He will be missed on the cinematic landscape.
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