Classic Film : What classics did you see last week? (8/10-8/16)

What classics did you see last week? (8/10-8/16)

Please tell us what classics you saw last week. Modern films are welcome, as well.

If I die, I'm gonna die historic on the Fury Road.

Renoir, 1928, 2000, The Gift, Clair, Cloud Atlas, etc.

Sur un air de Charleston (Jean Renoir, 1927) - Well, this was weird, but I quite loved it. It's an experimental sci-fi dance film. Renoir's wife Catherine Hessling stars as a wild native of a post-apocalyptic Paris in the year 2028. An explorer from Africa (Johnny Hudgins, a black jazz dancer in a minstrel getup) flies his orb to Paris where he meets up with this woman and her pet monkey (a man in a monkey costume). She ties him up and dances the Charleston at varying speeds. Later she unties him and teaches him how to do it. I love the visuals in this one and could watch Hessling do the Charleston for hours on end. I think most would find it fortunate that this one only runs 20 minutes, though. 9/10. YES.

Easy Virtue (Alfred Hitchcock, 1928) - Well, I have a new answer for the frequently asked question "What's your least favorite Hitchcock movie?" This is even duller than my other two standard answers, Under Capricorn and The Paradine Case. Based on a Noel Coward play, it concerns a divorcee (Isabel Jeans) who hides her status when she gets involved with a new love interest (Robin Irvine). Her mother-in-law recognizes her but can't place her (the divorce case was sensationalistic a few years earlier), and she hopes one day she'll remember. In the meantime, she vows to treat her new daughter-in-law with contempt, at least behind her son's back. There are some nice '20s fashions on display, but I had trouble staying awake for this one. The play was recently re-adapted in 2008 with Jessica Biel in the lead role. 4/10. no.

The House on Trubnaya (Boris Barnet, 1928) - Boris Barnet, best known for his 1933 film Outskirts, directs this fun little comedy with, of course, a social message. It wouldn't be a Russian film without one! This one isn't particularly preachy, and it isn't as forceful as what one might be used to with Russian silents. It's quite nice and enjoyable. Vera Maretskaya plays a country bumpkin named Paranya who arrives in Moscow seeking employment. She arrives at an apartment building on Trubnaya Street. Among the many people living there are a pretentious married couple, the Golikovs, who have an aristocratic heritage they'd rather not forget, damn the revolution. Mr. Golikov employs Paranya but forbids her to join the worker's union. It's kind of impossible to avoid the union, though, and Paranya is swept up in it, much to Mr. Golikov's chagrin. This film isn't montage heavy, but Barnet does use the technique in his own unique way when he needs it. The filmmaking in general is strong. I didn't love the film. I had a bit of a difficult time following the story at times (perhaps just because I was tired). It's quite enjoyable, though. 7/10. yes.

The Little Match Girl (Jean Renoir, 1928) - Based on the Hans Christian Andersen story, this short film stars Renoir's then-wife, Catherine Hessling, as the titular character, an impoverished child trying to sell matches on New Year's Eve. She is unsuccessful and, unable to go home to her abusive father, she hunkers down in the snow and starts lighting matches to stay warm. In those matches, she sees visions. In this version, those visions are a grand fantasy. It's not quite that way in the original. I don't know, there's something cheap about this production that I didn't really like. I found it weak. 6/10. mixed.

Street Angel (Frank Borzage, 1928) - I'm a big fan of most of the Frank Borzage/Janet Gaynor melodramas, but this one didn't do much for me. That may in part be because of the ugly DVD Netflix sent me (it's included in that Borzage/Murnau box set Fox released years ago, from which Netflix has sent me several discs in the past, but this one was a public domain release). There seemed to be some leaps in the plot that could easily have been fixed; it very well might have been that pieces were cut out of the version I saw. Aside from the picture, the musical score was kind of grating (it may be, since this was a pretty late silent film, that the score is the one that was always with the film). The plot is classic melodrama: Gaynor is poor, so she turns to prostitution. After being arrested, she escapes and runs off to the circus. There she meets the love of her life, Charles Farrell, and they eventually get married. Later on, a policeman recognizes her and arrests her. Gaynor won the very first Best Actress Oscar for her performance, and she's very good. I didn't think the film worked as a whole, however. 6/10. mixed.

The 6th Day (Roger Spottiswoode, 2000) - Mostly mediocre Arnold Schwarzenegger sci-fi flick. Structurally, it bears a lot of similarities to Total Recall. Arnold plays a regular family guy who gets caught up in sci-fi intrigue in the near future. Cloning is illegal but still practiced by the very rich. Arnold is cloned after he gets involved with Tony Goldwyn's evil billionaire. The clone is meant to replace his real self, who was thought to be dead, but now there are two Arnolds. A bunch of assassins (including Michael Rooker and Terry Crews, in his film debut) go after him. There's a lot of good production design and some good action sequences, but, overall, it's kind of forgettable. Funniest thing: this is supposed to take place in the year 2015 and the XFL (which was founded in 2000) plays a minor part in the plot. 6/10. mixed.

Chunhyang (Im Kwon-taek, 2000) - Very good Korean film based on a popular folk tale (this is one of some sixteen different film adaptations). The film is largely narrated by a pansori singer. The drum music might begin to grate on many Westerners' ears, but, for the most part, I liked it. The film itself is gorgeous, with wonderful costumes. Cho Seung-woo plays the son of a governor. He falls in love with the daughter of a courtesan, Chunhyang (Lee Hyo-jeong), and eventually marries her. His father won't recognize his marriage, though, so he must leave her and gain his own title before he reclaims her. In the time before he can do so, the new governor demands that Chunhyang submit to him. When she refuses, he punishes her. Her fidelity to her husband makes her a folk hero. 8/10. yes.

Under the Sand (Francois Ozon, 2000) - Excellent drama starring Charlotte Rampling. While on vacation, Rampling's husband (Bruno Cremer) disappears after he goes swimming in the ocean. The simple explanation: Cremer was swept away by the tide and drowned. It's not an explanation Rampling's willing to accept. With no body, she goes forward with her life, pretending her husband is still alive. This is a simple story, but a powerful one. It's also a good vehicle for Rampling to show her skills. She's amazing in it. 8/10. yes/YES.

The Gift (Joel Edgerton, 2015) - Pretty good thriller directed by the multi-talented actor Joel Edgerton. Jason Bateman and Rebecca Hall play a married couple who move back near where Bateman grew up for his new job. There they run into a former high school classmate of Bateman's, played by Edgerton. They were not friends back then - there's clearly some bad history between the two men which Bateman is not entirely open with with his wife - but Edgerton seems friendly enough. But tensions rise when Bateman wants Edgerton to stay out of their lives. This seemed like it would be quite predictable from the trailers, but it has some good tricks up its sleeve. The strongest part of the film is the characterizations - these really feel like three dimensional people (it is unfortunate that good actresses like Alison Tolman and Busy Philipps appear in a couple of thankless supporting roles, but no big deal), and the three leads give performances to match the good script. I did think that some of the final twists didn't quite work, but it's still a solid movie. 7/10. yes.

Re-watches

Steamboat Bill, Jr. (Charles Reisner, 1928) (second viewing) - One of Buster Keaton's most famous films, but I don't think it's one of his best. It's most certainly delightful, but I wish I found it funnier. There are laughs to be had, but none uproarious. My favorite bit is the sinking lifesaver and Keaton's reaction to it. The final joke is kind of brilliant, too. The storm finale is justifiably famous and some neat and daring filmmaking. The girl, Marion Byron, is absolutely adorable. 7/10. yes.

Quatorze Juillet (Rene Clair, 1933) (second viewing) - I never thought I'd be able to see this again, but a small company called Video Dimensions has put it out on DVD. I came upon it on a ratty old VHS tape in the library some 15 years ago and fell in love with it (I was already a big fan of Rene Clair from Le million). This one has all the comic sensibilities of Clair's other films from the period, but it has a bit more dramatic heft than the other ones. Annabella and George Rigaud star as young lovers who want to spend Bastille Day together. Unfortunately, Rigaud's bad news ex returns. Misunderstandings and tragedies ensue, keeping the couple apart. A real gem. 10/10. YES.

Stray Cat Rock: Wild Jumbo (Toshiya Fujita, 1970) (second viewing) - The five Stray Cat Rock films that Nikkatsu produced between 1970 and 1971 all feature Meiko Kaji, but the same characters do not appear in each of them. The second SCR film isn't about a girl gang, but a smaller, intersex gang that calls themselves the Pelican Club. Kaji is just one of them, not the leader here as she is in some of the other films. She actually doesn't say much, though she does have a big presence. The Pelican Club is basically a gang. They drive around Tokyo in an old Army jeep causing havoc, getting into fights with a rival gang. Their leader, Takeo Chii leads them, along with his girlfriend Bunjaku Han, into a heist of a corrupt religious organization's donations. This is a fun movie, although it doesn't quite end so well for the Pelican Gang. It's very colorful with lots of great music. 8/10. yes.

Cloud Atlas (Andy Wachowski, Lana Wachowski & Tom Tykwer, 2012) (second viewing) - One of the great achievements in filmmaking this decade, in my estimation. When I first saw it upon its release, I immediately bought the novel (which I rarely do since I read at a turtly pace). I liked it a lot, but I think pretty much every decision the Wachowskis and Tykwer made was the correct one. It flows so beautifully, with the six stories dovetailing into each other at the perfect angle. The clamshell-structured novel had the problem of some of the stories being more interesting than others. In particular, the Cavendish chapters are torturous in the book. They work in the film, perhaps mostly because of Jim Broadbent. The character in the book comes off as such an unlikable jerk you have to wonder why anyone would ever read his book. Frankly, all the stories are kind of cliche, but combined they don't really feel that way. It also helps that the less conclusive endings of the novel feel more completed in the film. It's just overall more satisfying. Rewatching this, I still feel shocked at just how good it is. Both the Wachowskis and Tykwer have made films I absolutely hate in the past, and I think they both have only a single other film I have any love for (Bound for the Wachowskis and Perfume: The Story of a Murderer for Tykwer). This just feels like it's on such a higher level that these three could ever have achieved otherwise. It's just amazing that it's as good a film that it is. A masterpiece, I do believe. 10/10. YES.

If I die, I'm gonna die historic on the Fury Road.

Re: Renoir, 1928, 2000, The Gift, Clair, Cloud Atlas, etc.

Well, I liked Easy Virtue better than you did, although I think that it's not Hitchcock's best.

~~~~~
Jim Hutton (1934-79) and Ellery Queen =

Atlas and Renoir

E.M. Forster's famous epigraph ‘only connect' is the very essence of the Wachowskis and Tom Tykwer's ambitious and occasionally audacious Cloud Atlas as it hops between six different stories in six different eras from the 19th century to the future with partially shared casts to emphasise the connections between past, present and future as people keep making the same mistakes and chasing the same dreams of freedom, self-expression and escape and trying to grasp some measure of illusory control over their own destiny. It wears its ideas for the most part surprisingly lightly, the connections and echoes through the ages not always the expected ones – it's a brief surviving scene from a film of a comic memoir that becomes a rallying cry for rebellion in the future while elsewhere it's repeated phrases or a piece of music heard for the first time yet strangely familiar that give characters pause. Not all the stories are successful, particularly the very typically superhuman Wachowski shoot-em-ups and philosophical soundbites that punctuate the future Neo-Seoul story, but that may be intentional: at least one version of Jim Broadbent's ghastly ordeal is a fictional (or factional) story-within-a-story while the 70s conspiracy story later becomes a novel and features a character called Luisa Rey crashing off a bridge in San Francisco, which will certainly strike a chord with Thornton Wilder's readers. Real or imagined, they do gradually add up to a fairly satisfying whole and even manage to gain some genuine emotional weight at times: there's a genuinely moving brief moment atop Edinburgh's Scott Memorial that's quietly heartbreaking.

The film's casting coup is at times gimmicky and at others successful as the same actors play different roles, races and even genders with varying degrees of success, going from leads in one story to bit players in other characters lives in another. Tom Hanks wavers between spot-on and overdoing the eccentricity depending which skin he's wearing, Halle Berry's strengths and weaknesses are made all too apparent by her decent job of her 70s and futuristic characters and complete failure to convince in her smaller roles, Ben Wishaw wears his versatility with surprising invisibility – he's one of the few you're unlikely to recognise in some of his roles while making a big impression in his most substantial one – while it's a genuine tour de force for Hugh Grant who genuinely transforms himself in his several unsavoury roles and shows such a convincing range and command of all of them that you wonder how much more impressive his career could have been had he not got typecast as silly fops in romcoms. The makeup changing the characters races isn't always as convincing as it could be: Berry looks more like Josephine Baker than a German Jew, Jim Sturgess and James D'Arcy always look like Caucasians in decent Oriental makeup and Doona Bae's Korean accent constantly reminds you of what she's not even when the make-up almost convinces you she's an English Rose, though you suspect that the very fact that the thuggish female nurse is very recognisably Hugo Weaving is part of the joke. And Cloud Atlas definitely has a sense of humour, which helps leaven some of the reach-exceeding-its-grasp striving and, in a nod to an earlier Charlton Heston scifi film, even set up future plot developments.

It's a near-three hour film that doesn't feel that long, neither outstaying its welcome nor making the lack of an intermission as much of an inconvenience as it so often is in long films. The filmmaking itself is often impressive, with a genuine sense of scale to the 19th century and post-Apocalyptic stories that at times harkens back to the expansive roadshow epics of the 60s. And like those sagas there's a very real sense of going on a journey with the film, the whole at times greater than the parts to create something satisfying even if it isn't the transcendent revelation you suspect its trio of directors were aiming for. It's not a film I loved, but it's still a film I liked a lot.


Made with film stock left over from the production of Nana, 1927's Sur un Air de Charleston is described as a holiday film for all concerned, and that's the best way to view it. Jean Renoir seems never to have thought enough of it to even edit the footage together. The plot is a simple reversion of racial stereotypes – in 2028 a black explorer travels to a post-holocaust Paris where a white native girl teaches him the Charleston (naturally he assumes she's a savage whose dancing is a prelude to her eating him before giving in to the seductive beat of ‘White Aborigine' music). There are plenty of surreal touches, be it the pet gorilla eating the flowers in Catherine Hessling's hair, the angels the girl telephones (Renoir and producer Pierre Braunberger among them) or the fact that black performer Johnny Huggins plays his part in minstrel blackface while Hessling's dancing ability is almost completely nonexistent, and there are some interesting occasional experiments with slow motion, but there's not really enough to sustain it for its modest two reels. An additional air of surrealism is provided by the fact that this silent musical has absolutely no score at all on Lions Gate's DVD…


1928 short La Petite Marchande D'Allumettes aka The Little Match Girl also suffers from an unconvincing and badly cast lead performance from Mrs Renoir, Catherine Hessling, who looks anything but little and more than capable of looking after herself, which certainly takes the edge off Hans Christian Andersen's tale. Indeed, the film makes a couple of attempts to write itself out of the problem by portraying her as more than usually stupid, but they feel more like in-jokes than anything else. It's a shame, because the film itself is an impressively staged fantasy with great special effects and some interesting visual experimentation with camera speed and focus amid the unashamedly romantic treatment of the fantasy scenes, especially the sequence where the girl and her toy soldier are chased through the clouds by Death in the form of a relentless Hussar. If only you could care about the character. Lions Gate's transfer is rather more worn than their other Renoir titles, being mastered from a 1959 reissue with a good synchronized soundtrack.


"Security - release the badgers."

Re: Atlas and Renoir


"1928 short La Petite Marchande D'Allumettes aka The Little Match Girl also suffers from an unconvincing and badly cast lead performance from Mrs Renoir, Catherine Hessling, who looks anything but little and more than capable of looking after herself,"


Poetic licence, of 'Outer Limits' dimensions, perhaps, Trev?

"Where's the rest of me??... Just when you thought it was safe to go back in the water.!"

Re: Atlas and Renoir

They say love is blind, which at least explains Daisy Miller.


"Security - release the badgers."

Re: Atlas and Renoir

It doesn't excuse it, though!

"Where's the rest of me??... Just when you thought it was safe to go back in the water.!"

Doctor, You've Got a Spanking Zoo

First Time Viewings

Doctor, You've Got to Be Kidding! (1967). Unwed and pregnant, an aspiring singer decides to finally reveal to her suitors the identity of the man who impregnated her in this pleasant if unremarkable Sandra Dee comedy. Broaching a subject not commonly portrayed at the time, Doctor, You've Got to Be Kidding! might sound a bit raunchy from the outset, but it is all handled incredibly 'nicely' with no less than three eligible bachelors who want nothing else but to marry and take care of Dee and her kid (realism is not a strong point) and this niceness is not really beneficial. In fact, it serves to trivialise the importance of solving the mystery; the father's identity really matters very little to us since we know that Dee her child will be cared for no matter the outcome. The film is not particularly funny either, though Celeste Holm certainly gives it her best as Dee's overbearing mother who spontaneously invents a story of a burned marriage license and dead husband to protect her unwed daughter's good name (!). The chemistry between Dee and Holm is pretty spot-on too, and there are a couple of great scenes in which Holm keeps nonchalantly entertaining guests, completely uncaring of the fact that her daughter is not properly dressed. The rest of the film is pretty hit and miss. None of Dee's prospective partners are particularly charismatic and the large array of songs often come off as padding to buff up the material to standard feature length. George Hamilton has some good moments as Dee's self-obsessed boss though, and the end credits are at least amusingly different to what one might expect. -- #57 (of 75) for 1967, between Woman Times Seven and Quatermass and the Pit. (first viewing, TCM)

Spanking the Monkey (1994). Forced to give up a promising internship to take care of his invalid mother, a young med student wrestles with mixed emotions from constantly seeing his mother naked and having to massage her body in this apparently semi-autobiographical debut feature from David O. Russell. The plot might sound daring from such a description alone, but as the young man finds himself unable to pleasure himself due to a constantly yapping dog, things soon become darker still. For its willingness to explore an issue seldom depicted on screen, Spanking the Monkey certainly deserves credit, and Russell handles the whole incest angle with surprising subtlety and restraint. Nothing is explicitly shown or even stated by the characters, but the way they act afterwards communicates all. The film also smartly plays out as a series of gradual revelations, with it only slowly revealed that the father is cheating while away, and with the mother only gradually divulging personal information, such as the father's stance on children. The film does not, however, tread the line between comedy and drama as well as Russell's better known films. The funniest moments come from double entendres late in the piece as the mother visits a doctor and converses with a psychiatrist, but since the pivotal incident does not take place until around halfway in, this comedy comes as an uneasy addendum to the drama of a frustrated, repressed young man. The drama does not always click either with such a long build-up, but Jeremy Davies is consistently compelling as the confused, angst-ridden protagonist. -- #31 (of 61) for 1994, between Muriel's Wedding and Don't Drink the Water. (first viewing, DVD)

About Adam (2000). Pier Paolo Pasolini gets a twenty-first century update in this comedic take on Teorema's premise of a mysterious stranger seducing an entire household, male and female alike. The film is very intricately structured in order that we only gradually see just how deeply involved the title character has been with each household member as we witness various events replayed from multiple points of view. Indeed, by the time we are subjected to a pivotal marriage proposal for the fifth time, it becomes very emotionally charged as it is suddenly obvious how many conflicted emotions come with the announcement. Curious as About Adam is though, it does not succeed in making its seducer as enigmatic or intriguing as Terence Stamp in the Pasolini film. Adam's relevation that he just spoilers really likes people and cannot bear with letting them down also only serves to simplify his character, and the ending is weak (and inexplicably upbeat). To be fair though, it is hard to imagine a more satisfying way to conclude the film given that it is more a study of what goes on beneath the surface of human relationships than it is a proper narrative per se. Also, while the Adam character loses its mystique as the movie progresses, there is a lot of interest in how he seems to adapt and change so fluidly to fulfill the desires that everyone who he encounters projects onto him. There is additionally something delicious ironic about the film's title in this regard; we actually learn almost nothing about Adam, but almost everything about each of his love interests. -- #29 (of 85) for 2000, between You Can Count on Me and Bamboozled. (first viewing, VHS)

Dinner Rush (2000). "When did eating dinner become a Broadway show?" astutely questions one character in this glimpse into a single chaotic night at a busy New York restaurant. The story chiefly circles around the difficulties facing the proprietor -- a former gangster who used the joint as a front before going legitimate when the food business proved a success -- however, the large array of supporting character paint a fascinating picture of how overblown dining has become. Most memorable is a rude and condescending patron played by Mark Margolis, who sarcastically comments "and I'll be your customer" after his waitress introduces herself, before belittling her career ambitions. The restaurant is also patronised by trivia nuts, a food critic, a chief of police and hardened gangsters who wish to take on the business as a money laundering operation once again. With so many main characters, the film sometimes feels fragmented, and with none of the characters fleshed out in particular depth other than the owner and his son, it is sometimes hard to engage with the story. For the most part though, the film does well juggling its satire of the restaurant scene and its portrait of a desperate restaurant owner worried about the future of his business. The tension with both police chief and mobsters in close proximity is superb and the dénouement is certainly memorable and thought-provoking, making one reevaluate just how much the restaurant owner had planned from the get-go. And as the cunning former mobster in question, Danny Aiello tops it off with one of his career best performances. -- #34 (of 85) for 2000, between The Beach and Crouching Tiger, Hidden Dragon. (first viewing, DVD)

Revision Viewings

(sorry for the one-line comments this week; will elaborate if you ask nicely)

Zoolander (2001). The costumes and make-up effects are as creative as anything, but a far sillier film than I recalled; way too over-the-top to register as funny at least half the time. -- Was #49, now #55 (of 103) for 2001. (second viewing, DVD)

Legally Blonde (2001). Absolutely charming, bouncing with energy and far more intelligent than one might expect. Witherspoon is very good too with some nice character growth. -- Was #32, now #28 (of 103) for 2001. (second viewing, DVD)

Most people think I'm mad. At least I know I'm mad.

Thanks again for the recommendations!

Thanks again for the Lemmon-Matthau recommendations! I reviewed some of those films in my post on this thread.



~~~~~
Jim Hutton (1934-79) and Ellery Queen =

Re: What classics did you see last week? (8/10-8/16)

The Hateful Eight / The H8ful Eight / The Hateful 8 (QT, 2014) (script, first draft) 7+/10

Knowing full well that the bar scene of 'Inglourious Basterds' is his single best set piece - certainly his most suspenseful one - with 'The Hateful Eight' QT tries to stretch it out to feature length. Overall certainly not his best script but it is subject to change and if he can successfully keep the tension in the film then it certainly has potential to be a winner. In terms of similar movies only really two came to mind, firstly The Ugly Ones AKA El precio de un hombre (which also is on QT's list of Top 20 Spaghetti Westerns) which early in the film has bounty hunters bringing their prisoner (Tomas Milian) into a saloon, where an old childhood friend of the prisoner helps him kill the bounty hunters to be free again, and secondly one of my favorite films, Cut-Throats Nine AKA Condenados a vivir, a very brutal snow western about a group of chained prisoners being led over the mountains to the next town so they can say hello to the hangman (of course the prisoners have other plans), it makes 'The Great Silence' look like 'The Sound of Music', tonally that film has more in common with the raw terror of 'The Texas Chainsaw Massacre'. Oh, and certainly there's also QT's own 'Reservoir Dogs' which has a pretty similar setup to "8", but which keeps cutting away to backstory, so in effect it doesn't end up being much of a one-location movie. With Kurt Russel being the closest to a main character (along with Samu L.) we are also sure to see a lot of comparisons to 'The Thing'.


Mission: IMAX - Rogue Nation (Christopher McQuarrie, 2015) (theatrically, IMAX) Tom Cruise/10

The plot takes cues from 'Skyfall' but it doesn't want to give up on any of the stuff we are used to seeing in this movie series, so this doesn't amount to much except that there is the notion that the IMF and its agents operate more on instinct and dumb luck than on well-thought out decisions, so there was the potential for it to be a bit scary ("Those are the guys in charge of rescuing the world?"), but instead it just goes for a feeling that anything can happen because they don't have a hell of a lot control over the situation. The film overall does an efficient job but lacks much imagination plot-wise and even more so filmmaking-wise.


Casablanca (Michael Curtiz, 1942) (2nd viewing) 8/10 (from 8)

Watching 'Mission: Impossible - Rogue Nation' got me in the mood that day to give 'Casablanca' another viewing. A normal reaction, I reckon.


'Crème Caramel' A film by CANADA for NOWNESS (Canada, 2014) 7+/10

El Guincho - Bombay (Canada, 2010) 8+/10

El Corte Inglés - Te lo mereces (Canada, 2015)

Mujeres - L.A. (Canada, 2010) 7/10

Feliz Navidad (Canada, 2009)

Playstation Portable - Everywhere (Canada, 2007)

METRÓPOLIS (Canada, 2010)

Coca-Cola - 3PM BEAT (Canada, 2014)

MISHIMA | Un tros de fang (Canada, 2007) 6+/10

Le dossier 51 (Michel Deville, 1978) 6+/10

Not exactly an amazingly interesting film, but I felt like it captured the bureaucracy of espionage pretty accurately, plus with a lot of dry humor that keeps it at the very least always watchably amusing. Thematically this makes it a companion piece to 'The Ipcress File' which instead of focusing on an unfortunate target focuses on an unfortunate agent. Although it has to be said that 'The Ipcress File' is more like a more realistic James Bond movie whose protagonist has to do his job while struggling with the bureaucracy of British espionage, so the approach is vastly different, but I might add that it's also a lot more involving and suspenseful.

Unlike some viewers I didn't find it "dragging in the middle" since with the focus now more on particular agents as they try to coax information about 51 out of a person it started to have what you might call set pieces, scenes that went on longer instead of it just being an onslaught of information with visual accompaniment that overall felt somewhat arbitrary in their style and content due to the relentless perspective changes. So I found this a nice change of pace and it finally approaches something that can be called dramatic tension.

The satisfying final 25 minutes reward all the viewers who remained attentive to the end, as a lot of the information comes together, and still the dry humor is retained, like, how when the experts talk about the guiltless pleasures and closet homosexuality of 51, they do so with visible glee and while constantly playing with and sucking on a pencil and a pipe, and the long-haired psychologist further looks doe-eyed at the other male employees. The film ends maybe the only way it could have ended with any poignancy. There's a German saying that goes: "Operation successful, patient dead."


Ordet (Carl Theodor Dreyer, 1955) (rewatch) 4/10

The Sunset Limited (Tommy Lee Jones, 2011) 6+/10

Subconscious Password (Chris Landreth, 2013) 7+/10

The Sword in the Stone aka The Old Time-Traveling Wizard and His Scrawny Boy-Friend Turning Themselves Into Various Animals Just to Get Chased by Various Real Animals Again and Again (Wolfgang Reitherman, 1963) (3rd viewing) 3+/10

Cruel Intentions (Roger Kumble, 1999) (3rd viewing) 7/10 (from 8)

Lemony Snicket's A Series of Unfortunate Events (Brad Silberling, 2004) (rewatch) 7/10 (from 8)

Eat You Alive (Zoran Bihac, 2014) 4+/10

asdfmovie9 (Thomas Ridgewell, 2015) (rewatch) 7/10

Ping Pong the Animation (Masaaki Yuasa anime, 2014)
Ep1: 7/10; Ep2: 8/10; Ep3: 8/10; Ep4: 7/10; Ep5: 6/10


Notable Online Stuff:

Rammstein - Making of Reise Reise (English Subtitles) - 5/10
How The Beatles Changed Album Covers
Why Do We Take Selfies? - 8-Bit Philosophy
How to Cut a Film - The Secrets of Editing - Film School'd

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Re: What classics did you see last week? (8/10-8/16)

Room at the Top (1959)

Instant 10/10 on first viewing. I was so impressed that I created a thread.
http://www.imdb.com/board/bd0000010/nest/247167835

I ask again: Who can tell me the lead instrument on the soundtrack/score, specifically in the scene where Joe caresses Alice's sweater?

As iron sharpens iron, So one man sharpens another

L'enfance nue, The Late Show

L'enfance nue (Naked Childhood)

Directed by Maurice Pialat, France, (1968), 83 minutes

"The worst walls are the ones you put there — you build yourself. Those are the high ones, the thick ones, the ones with no doors” - Ursula LeGuin


François Fournier (Michel Terrazon) is a ten-year old boy dumped into the foster care system in France by his single mother, whom the film suggests was mentally ill. Maurice Pialat's first feature L'enfance nue is an unsentimental look at the foster care system in France and its effects on those in its care. Written by Maurice Pialat and Arlette Langmann and performed by non-professional actors with much of the dialogue unscripted, L'enfance nue comes from the director's own experience of being raised by his grandparents and the emotional distance he felt towards his biological mother and father. Though the film lacks peak dramatic moments and emotional payoffs, in its volatile main character; it captures the essence of humanity, in all of its contradictions.

François personifies that ambivalence. He can be good-hearted and mean-spirited, cruel and kind, angry and loving, a cauldron of emotions that are sometimes hidden below the surface and sometimes acted out. Like most children, he is inarticulate and is at a loss to explain his actions, but the film does not seek any explanation. It just observes rather than judges. As the film opens, we see a protest march about economic conditions, but we soon learn that this is not a political statement, only a suggestion of the socio-economic area in which the film is set. François is living in the home of foster parents Simone (Linda Gutemberg) and Roby Joigny (Roual Billerey) who are unable to have their own children.

We see him steal a watch, then flush it down the toilet, dropping his foster sister Josette's (Pierrette Deplanque) cat down a stairwell, refusing to eat, and peeing on the floor around his bed. Unable to cope, his foster parents deliver him back to Social Services but, again confounding our expectations, François lovingly buys a gift for his foster mother and seems genuinely sad about leaving. After a revealing scene at the adoption center where prospective parents size up the orphans in a way that reminded me of the slave auction in “12 Years a Slave,” François is placed in the home of an older couple, the Thierry's (Marie-Louise and René Thierry, real-life foster parents) whom he calls Grandma and Grandpa.

Also in the home are Raoul (Henri Puff), a teenage foster child, a younger girl, and Mrs. Thierry's elderly mother Nana (Marie Marc), who is mostly confined to bed. François responds to the tenderness shown by Nana who reads to him, sings songs with him, and talks about her life. They even discuss the meaning of the word “mistress.” We think there is progress when he shows a sense of guilt for the first time after he steals Nana's coin purse and then quietly puts it back under her pillow. François is also drawn to Grandpa and spontaneously kisses him after he hears stories about the old man's activities with the French Resistance during World War II.

Eventually, however, even the Thierry's begin to question his normality after he throws a knife at Raoul, deliberately spills soup on his brother's lap, smokes cigarettes and hangs out with his neighborhood toughs who together decide to throw iron bars at passing cars from an elevated bridge, an adventure that leads to serious consequences. With his very expressive eyes that seem to look right through you, Michel Terrazon is remarkable as the young man acting out his anger. Others are notable as well including Henri Puff's as young Raoul, but it is Terrazon's memorable performance that remains with us and haunts our dreams.

GRADE: A

THE LATE SHOW


Directed by Robert Benton U.S., (1976), 93 minutes

The Late Show is a murder mystery, a comedy, and a sort of romantic relationship that is so entertaining and real that you don't even mind that you can't follow the plot. The film was directed by Robert Benton who received an Oscar nomination for best screenplay and stars Art Carney (“Harry and Tonto”) and Lily Tomin, (nominated for a Golden Globe for Best Actress) in two terrific performances.

In the film, a takeoff on 40s film noir, Ira Wells (Carney) is a sixty-something washed up private eye with a bum leg and a perforated ulcer and his client Margo Stirling (Lily Tomlin) is a slightly wacky but charming woman (also irritating), fluent in seventies enlightenment lingo. Together they team up to look for the creep that killed Ira's best friend Harry Regan (Howard Duff). And not so quiet flows the blood as well as the laughs as they unravel a convoluted plot that requires a PhD minimum to understand. The blood is there to remind us that it is serious business. Otherwise, we would never know - it's such great fun.

GRADE: B+


"Here is where it is. Now is when it is. You are what it is. Celebrate" - Werner Erhard

Re: L'enfance nue, The Late Show

It's been a while since I've watched 'L'Enfance Nue', Howard - which I think was my first Pialat - but that sounds about right to me, and I'm glad you rated it so highly. I'd taken a punt on Pialat a few years back - purely on the basis that he was getting 'the tratment' by R2 Criterion-equivalent, Masters of Cinema - but I'm glad I did, as it led me to explore further, and now I'd consider him a great favourite, and worthy of re-watches.

I'm not sure where you stand on 'black comedy' - particularly on disturbing or sensitive subjects - but if you do I'd highly recommend 'La Gueule Ouverte' - which might be my favourite of his; almost as good are the somewhat doom laden, even metaphysical 'Sous Le Ciel De Satan' - although I think CFB's ali thought it too sombre; 'Passe Ton Bac D'Abord' - a considerably darker 'American Graffiti' graduating-teenager's tale, albeit with a similarly engaging ensemble -, and 'Police' - more about the central character relationships than its standard-issue 'policier', although it holds up well in the latter regard, also.

If you're somewhat wary of Gerard Depardieu in view of his recent political, as well as acting choices, then his performances in 'Police' and 'Satan' might help bring you round to my view you that he at least for a few years stood comparison in the acting - and charisma, and dynamism - stakes with Brando, which will tell you how highly I rate him.

And funny you remind me about Pialat's use of non-actors in 'L'Enfance Nue', as he gets similar strong performances from the non-actors in 'Passe Ton Bac D'Abord', also.
As, indeed, he did with all his professional actors.


THE LATE SHOW
Watching this one may have prompted me to check out the director's big-budget breakthrough film 'Kramer v Kramer' - a film which I would probably have avoided, normally - but I credit the director's light, if steady, hand for winning me over to the latter. I think he was better with smaller-scale, even quirkier subjects, though, and they don't come quirkier than this one. I was somewhat disappointed on my recent re-watch of his 'Nadine' - starring Jeff Bridges and Kim Basinger - and his 'Bad Company', also starring Bridges, is just perhaps too low-key and mellow for its own good, but this one is right on the money, and was helped particularly by the 'match-made-in-Heaven' partnership of Art Carney and Lily Tomlin
(next time I re-watch, I'll probably dig out my 'Honeymooners' set for comparison)
And as you say, the plot doesn't matter; even after 4 or 5 watches, I probably couldn't tell you much about its (convoluted) ins and outs, except to say that it was a fun ride.




"Where's the rest of me??... Just when you thought it was safe to go back in the water.!"

Re: L'enfance nue, The Late Show

Thanks again for those recommendations. I might at some point see more of Pialat's films, especially Under the Sun of Satan since I love the novels of Georges Bernanos.

"Here is where it is. Now is when it is. You are what it is. Celebrate" - Werner Erhard

Re: L'enfance nue, The Late Show

Although too much of a good thing is bad for you, sometimes, it might be interesting to watch Bresson's 'Diary of a Country Priest', Melville's '"Le Silence de la Mer', and perhaps Dreyer's 'Ordet' at the same viewing session - to compare and contrast.

Me, I've recently picked up the source novel of Tarr's 'Satantango', and am eager to see how that great film measures up against its source.

"Where's the rest of me??... Just when you thought it was safe to go back in the water.!"

Lesser known 70s/80s pics week.

Old favourites with some hopeful new viewings thrown in. Ratings out of 5 stars.

Certain Fury (1985) - Stephen Gyllenhaal
Two girls on the run through trashy, urban/apocalyptic set-pieces. The plot is so slight it damn near works as a mood piece. Some unexpectedly nice moments, a beautiful score and a very beautiful Tatum O'Neal. ★ ★ ★

Out on Bail (1989) - Gordon Hessler
Robert Ginty carved a bit of a niche as an action star in z-grade material throughout the 80s. As a kid, this one was my favourite of the lot, which is odd, as it only gets going plot-wise some 70 minutes in. ★ ★

Thief (1981) - Michael Mann
One of the best-directed (if not overall-best) first features I can think of it. The character psychology is a little basic for Mann's standards, but Cann, the blue-drenched photography and the score make up for it. ★ ★ ★

Surfacing (1981) - Claude Jutra
Deliverance-lite and unreasonably meandering, it fails to generate the poetic dimension it needed to function on even the most basic level. A disappointment given the premise and the talent involved. ★ ★

Jeremy (1973) - Arthur Barron
No other film captures the intensity of first love quite so earnestly. Jeremy is a very special film and I am glad I first saw it when it most mattered. In a sense, I'm glad I've grown out of what was once a favourite. ★ ★ ★

Deliver Us from Evil (1973) - Boris Sagal
Impressive scenery, multi-dimensional characters, and a solid lot of actors are the main draws in a derivative (if well-written) tale of greed and adventure. One of the best television films I have ever seen. ★ ★ ★ ★

Child's Play (1972) - Sidney Lumet
Lumet is a master in tackling atmosphere but seems unable to find his footing in this dreary pic... the material is unconvincing and set to an histrionic pitch, but Mason's brilliant, nuanced turn comes out unscathed. ★

Foxes (1980) - Adrian Lyne
Loosely plotted and delicately shot, it takes a number of risks and succeeds for the most part, thanks to Lyne's strong directorial vision. Jodie Foster, convincing all the way through, is a natural. An affecting film. ★ ★ ★ ★

Death Ship (1980) - Alvin Rakoff
Completely ludicrous, ineffective and, worst of all, unexciting - the cast seems adrift, there's nary a semblance of plot and the director can't even (unbelievably...) summon a reasonable atmosphere. ★

Return to the Blue Lagoon (1991) - William A. Graham
A lazy rehash with none of the original's magic. The lead romance is stale and most conflicts/developments feel forced. Pretty (if vacant) images and a pretty Milla Jovovich are about the only elements going for it. ★ ★

Damnation Alley (1977) - Jack Smight
Flimsy post-apocalyptic romp with a crazy look and outlandish effects. Charmingly preposterous and unique but a major letdown to me personally after unironically loving it in my earlier years. ★ ★

Gladiator (2000) - Ridley Scott
The computer effects detract from what could have been a convincing story and the whole political angle feels half-baked, but the film generally succeeds as the emotional action/drama epic it aspires to be. ★ ★ ★

Driven (2001) - Renny Harlin
Something of a soap, overburdened with characters, conflicts and superficial plotlines, but kind of a compulsive spectacle all the way through - I've seen and enjoyed it many times. Sly is a talented man. ★ ★ ★

The Wanderers (1979) - Philip Kaufman
Authentic and powerfully reminiscent, with a strong psychological sense of time. Ken Wahl is terrific here; it's a shame he never got his break. I'm switching my allegiance from the Warriors effective immediately. ★ ★ ★ ★

Ed è cosi che sul mio cuore grida un altro cuore.

Re: Lesser known 70s/80s pics week.

Gladiator - I remember seeing that 15 years ago, and thinking 3 things (1) how phony the CGI Tiger/Lion looked (2) that the attack of German "Hordes" at the beginning was well done and (3) wondering how the hell Crowe got from the Rhineland to Spain in about a Week. I know those Roman roads were good, but hmmm...

Re: Lesser known 70s/80s pics week.

The battle with the Germanic tribes was indeed well made but it's starting to show its age what with the staccato slow-motion aesthetics that were all the rage back in the 90s, early 00s.

I also remembered the CGI tiger. I tried my best to register everything as positively as I could and spent most time pushing myself into an apologetic mindframe... but the tiger was very much still there.

Something that baffles me to this day is how little David Hemmings looked like his younger self...

Ed è cosi che sul mio cuore grida un altro cuore.

Re: What classics did you see last week? (8/10-8/16)

Blue Jasmine (2013) - Cate's Oscar winner is a solid but not top-notch Allen movie. 7/10

Celebrity (1998) - Judy Davis excels in a cameo-laden Allen take on celebrity in the modern world. 7/10

In the Mouth of Madness (1994) - how do I let myself get talked into watching this stuff? 3/10

The Last of Sheila (1973) - yet again. 8/10

Point Break (1991) - fun. 7/10

Fallout (2013 Documentary) - The story behind the making and marketing of On The Beach with much background regarding author Neville Shute and director Stanley Kramer. Complete with a brief history of nuclear weapons and the political tensions of the time. 7.5/10




"Baby, I don't care."

Re: What classics did you see last week? (8/10-8/16)


Blue Jasmine (2013) - Cate's Oscar winner is a solid but not top-notch Allen movie. 7/10

I agree. Cate's explosive performance is the heart and soul of the film. When she's not on screen, the film seems dull.

The Last of Sheila

I've given The Last of Sheila a few chances and I just haven't been able to get through that film.

I did hear from someone that this mystery isn't based on literature at all. It's probably one of the few whodunits which isn't.

~~~~~
Jim Hutton (1934-79) and Ellery Queen =

Re: The Last of Sheila


I've given The Last of Sheila a few chances and I just haven't been able to get through that film.


Okay, I'm going to be the one who drops the bomb here:

IS THERE A FRIGGING FILM IN THE KNOWN UNIVERSE THAT DOESN'T FEATURE JIM HUTTON THAT YOU EVER HAVE BEEN ABLE TO GET ALL THE WAY THROUGH???

Thanks. I feel much better now.

Re: What classics did you see last week? (8/10-8/16)

The Broadway Melody (1929)
I didn't warm about to this film and the only thing I enjoyed about it was Billie Dove's fine performance. 6/10

Heaven Knows, Mr. Allison (1957)
A beautiful, beautiful film! I adored everything about it. Kerr and Mitchum had GREAT chemistry in this. A lovely romance. 10/10

Rocky (1976)
I know this is a mega-classic, but I didn't feel its best picture worthiness. The most iconic thing for me was the famous exercise montage. Everything else felt about average. Its still better than Annie Hall, though! 7/10

The Deep Blue Sea (2011)
A post war drama about a woman (Weisz) and her affair with a troubled RAF vet (Hiddleston) Had a lot of potential to be a good movie, but feels aimless. Beautiful cinematography wasted. 6/10

The Major and the Minor (1942)
A charming comedy with Ginger Rogers in top form. I love the part when she declares that she can kind of dance. A cool concept and well executed. However some scenes can be a little dull. 7/10

The Letter (1940)
I've read that this is one of Bette's best role and movie and I completely disagree. She would be a millions time better in the following years with The Little Foxes and Now, Voyager (which I think is her best). 6/10

The Man Who Came to Dinner (1942)
A severely underrated comedy classic. Bette Davis stars as a secretary to an author (Monty Woolley) who can be a bit of a jerk. He schemes and attempts to help the family members he is staying with after falling on their stairs. I highly recommend this to someone who wants to see a great comedy. The last five minutes are some of the funniest in movie history. 8/10

Juno (2007)
Ellen Page stars as Juno who becomes pregnant and decides to gave the baby up for adoption. This is an offbeat movie thats truly impressive. The script and ensemble are great. 2007 was a fabulous year for film. This is definitely a Top 5 movie of that year. 9/10

Tragedy Dragon Smash Leende South Sail Male Clash Blues Soap Man

An American Tragedy (1931)

Raised in poverty, an ambitious young man (Phillips Holmes) takes a job at a factory owned by his wealthy uncle (Frederick Burton). He romances a girl (Sylvia Sidney) who also works at the factory but when he meets a wealthy heiress (Frances Dee), he sees an opportunity to move up in society. But fate has other ideas. Based on the novel by Theodore Dreiser, this original film version isn't as well known as the second film version re-titled A Place In The Sun (1951). I've never been a fan of the 1951 George Stevens film, it's too romanticized and it makes its protagonist's (played by Montgomery Clift) motivations too ambiguous. Josef Von Sternberg's film isn't nearly as sympathetic towards the young man. He's lean and hungry and clearly willing to do what it takes to get to the top and more obviously a moral coward. Unfortunately, the film's lengthy trial sequence is poorly done and poorly acted and the film's implication that it was poverty that was responsible, not the boy, leaves a bad taste in my mouth. Holmes never rises above adequate but both Dee and especially Sidney are very strong. With Irving Pichel and Lucille La Verne.

Dragonwyck (1946)

In mid 18th century Connecticut, a young farm girl (Gene Tierney) is summoned by her wealthy distant cousin (Vincent Price) to act as governess to his small daughter (Connie Marshall) in upstate New York. At first, she is thrilled but as time passes, the atmosphere turns dark and oppressive. Based on the novel by Anya Seton and directed by Joseph L. Mankiewicz, this gothic romance has the superficial feel of a Bronte novel but it lacks any perceptive insight though its lack of a romantic hero is rather noteworthy. Price at first suggests the brooding romanticism of a Heathcliff or Rochester but it becomes clear early on that he will be a villain. It's still Price's movie all the way and though Tierney frets nicely, her character is too uncomplicated to be of much interest. The film's resolution is unmemorable. The art and set direction (Russell Spencer, Lyle Wheeler, Thomas Little) is superb and there's a wonderfully ominous score by Alfred Newman. With Walter Huston, Jessica Tandy, Anne Revere, Spring Byington, Harry Morgan, Vivienne Osborne and the innocuous Glenn Langan.

Smash Up: The Story Of A Woman (1947)

A nightclub singer (Susan Hayward) with a promising career sets it aside to marry a struggling singer/songwriter (Lee Bowman). But soon, his career skyrockets and although the money starts rolling in, she feels neglected and suspicious of his relationship with another woman (Marsha Hunt). So she turns to alcohol. After the critical and commercial success of The Lost Weekend, it was perhaps inevitable that a distaff version would follow in its tracks. Susan Hayward had been acting in films since 1938 (she even tested for Scarlett O'Hara), usually as the second female lead (as in I Married A Witch and Reap The Wild Wind) without that one role that would push her to the A list. This overheated melodrama did the trick, even though it lost money, and she got her first Oscar nomination and started carrying movies on her own. But it's not very good and though she tries hard, she's not a strong enough actress (yet) to overcome the screenplay's soap opera weaknesses. It doesn't help that she has the dull Lee Bowman as a leading man but Marsha Hunt and Eddie Albert give strong support. Directed by Stuart Heisler. With Carl Esmond and Carleton Young.

Sommarnattens Leende (aka Smiles Of A Summer Night) (1955)

In turn of the (20th) century Sweden, a lawyer (Gunnar Bjornstrand) still hasn't consummated his marriage to his virginal bride (Ulla Jacobsson). But when he pays a visit to his ex-mistress, an actress (Eva Dahlbeck), it sets forth in motion a series of events that ends with a weekend at the actress's mother's (Naima Wifstrand) country estate where all the characters' romantic problems will be sorted out. One of the greatest sex comedies ever made, it is one of Ingmar Bergman's rare forays into romantic comedy. When I use the term "sex" comedy or "romantic" comedy, don't confuse it with a leering piece of wholesome family smut like Wilder's Irma La Douce or a Meg Ryan date movie. Bergman's elegant film is full of wit and insight into the romantic foibles of mortals floundering in the labyrinth that is "love". Absolutely flawless! Bergman's film served as the basis of the Stephen Sondheim musical A Little Night Music. Impeccably acted by an ensemble cast that also includes Harriet Andersson, Margit Carlqvist, Jarl Kulle, Bjorn Bjelfvenstam, Ake Fridell and Bibi Andersson.

South Pacific (1958)

During WWII on an unnamed South Pacific island, a young American nurse (Mitzi Gaynor) from Arkansas falls in love with a transplanted Frenchman (Rossano Brazzi). Also, a young marine lieutenant (John Kerr) falls in love with a native girl (France Nuyen). But both Americans must come to terms with their racial prejudices. I've never been a big fan of Rodgers and Hammerstein's South Pacific. It's probably my least favorite of their hit musicals. The majority of the songs are wonderful, of course but so much of the dialog is awkward and the film's message, while noble, is presented with a heavy hand. The whole thing seems rather ponderous. This isn't restricted to the film, I've similar feelings about it as a stage work. The film is further damaged by director Joshua Logan's use of colored filters through out the film which he intended to show slight changes but end up being irritating instead. Gaynor is a terrific dancer, one of the best, but she doesn't get to strut her stuff here and as an actress and singer, she's merely okay. I watched the original Roadshow presentation which was cut by about 20 to 30 minutes for the general release and while I normally prefer my films uncut, in this case I can understand the need for shears. With Ray Walston, Juanita Hall, Russ Brown and Tom Laughlin.

Sail A Crooked Ship (1961)

A young man (Robert Wagner) wants to save a broken down ship from being destroyed so he hires a company to restore the ship so it can be used for cargo. But the man (Ernie Kovacs in his last film) he hires to to do the work is really the head of a gang of bumbling thieves that plan to use the ship as a getaway in a bank robbery. The script isn't half bad, some of the situations and lines are quite funny and the cast all seems game. So why doesn't it work? I'll chalk it up to lousy direction. The director is Irving Brecher who's a screenwriter, he was nominated for an Oscar for his screenplay to Meet Me In St. Louis. He's only directed two other films. The actors aren't directed very well, they seem to be overcompensating as if pushing too hard for the laughs. I kept thinking how much better Blake Edwards could do with this kind of material. Perhaps the funniest moment is unintentional: Dolores Hart takes off her bra and gives it to Wagner to use as a sling shot but after she removes her bra, it can be clearly seen that she's wearing a bra under her sweater! There's a hurricane sequence that very well done. With Carolyn Jones, Frankie Avalon, Frank Gorshin, Jesse White and Harvey Lembeck.

Deadlier Than The Male (1967)

When some top oil executives are murdered by a pair of beautiful assassins (Elke Sommer, Sylva Koscina) who make the killings look like accidents, an insurance underwriter (Richard Johnson, The Haunting) isn't buying it. It isn't long before he becomes the hunted. The success of the James Bond films in the 1960s caused several imitators (like the Matt Helm or Flint movies) hoping to start their own franchise. This British film usurps H.C. McNeile's Bulldog Drummond detective character although it's not based on any of his books. There were no sequels. But it's an enjoyable potboiler notable for its use of sexy women who get their thrills torturing and killing men. There are several "nice" girls in the movie but the wicked "bad" girls are so much more fun! The icy Sommer and the warm Koscina (who practically apologizes while torturing her male victims) make for an amusing pair. Add the gorgeous Northern Italian coastal location and it's a pleasant diversion. Directed by Ralph Thomas. With Nigel Green, Suzanna Leigh, Steve Carlson, Laurence Naismith, Leonard Rossiter and Lee Montague.

Clash Of The Titans (1981)

After she has given birth to the son of Zeus (Laurence Olivier), a vengeful father (Donald Houston) casts his daughter (Vida Taylor) and her infant son out to sea to restore his family "honor". Against the wishes of his wife Hera (Claire Bloom), Zeus saves the girl and his son. But when he grows to manhood, the boy (Harry Hamlin) must seek out his destiny. This was the last feature film of the legendary Ray Harryhausen. While it lacks the imagination and execution of his best work like 7th Voyage Of Sinbad or Jason And The Argonauts, there's still much to like. The Medusa sequence ranks with some of the best of his work although I could have done without the annoying Bubo, the mechanical owl. Of course, for those of us who love classic Greek mythology, the film has a special place in our movie hearts. Directed by Desmond Davis (Girl With Green Eyes). For a film where the acting doesn't matter much, the cast is filled with heavyweights. In addition to Olivier and Bloom, there's Maggie Smith, Burgess Meredith, Ursula Andress, Flora Robson and Sian Phillips. With Judi Bowker and Tim Piggott Smith.

Miami Blues (1990)

A criminal psychopath (Alec Baldwin) just out of prison arrives in Florida. He's barely off the plane before he begins his crime spree including murder. But when he robs a police detective (Fred Ward) of his gun and badge, he uses it to pose as a police officer which makes things easier for him. Based on the novel by Charles Willeford, it is one of several novels featuring the detective Hoke Moseley played here by Ward. As directed by George Armitage (who also wrote the screenplay), this black comedy of a crime thriller is unique. You're never quite sure where it's going so your interest is piqued right from the beginning. But Armitage's script allows for detailed characterizations and the three leads (Jennifer Jason Leigh is the third) step up to the plate giving expert performances. If the film belongs to anyone, it's Jason Leigh who gives a sensational performance as a not too bright hooker. What's especially satisfying is how she doesn't condescend to her character for a minute (like say, Karen Black in Five Easy Pieces), she just inhabits her truthfully. Tak Fujimoto's colorful lensing is rich with Miami atmosphere. With Obba Babatunde, Paul Gleason, Nora Dunn, Shirley Stoler, Charles Napier, Bobo Lewis and Martine Beswick.

Soapdish (1991)

An aging soap opera diva (Sally Field) must contend with the backstabbing by her show's producer (Robert Downey Jr.) and her conniving co-stars (Cathy Moriarty, Teri Hatcher) and to make matters worse, her lover has left her to go back to his wife. Just when she thinks things couldn't get any worse ..... they do! An over the top spoof of daytime soap operas, this colorful comedy is quite amusing. It's like a MAD magazine parody and the script by Robert Harling (Steel Magnolias) and Andrew Bergman (Blazing Saddles) takes no prisoners in its outrageous attempt to skewer soap operas, their crazy plot lines and their dedicated fans. The acting is pitched at a near hysterical level which is perfect for the characters, notably Field's self absorbed neurotic diva. Ueli Steiger's lush color cinematography and Nolan Miller's eye popping costumes evoke those 1950s' wide screen comedies like Designing Woman. However, times change and what was funny in 1991 sometimes doesn't work anymore. When a transgender character is the butt of a joke, it just seems cruel. We're more enlightened today. Directed by Michael Hoffman. With Kevin Kline, Whoopi Goldberg, Elisabeth Shue, Carrie Fisher, Garry Marshall, Kathy Najimy and Finola Hughes.

Irrational Man (2015)

At a small town college, the new philosophy professor (Joaquin Phoenix) seems to have the life sucked out of him. This is partially remedied when one of his students (Emma Stone) becomes infatuated with him. But he becomes totally revitalized when a murder plot enters the scenario. I was surprised at how much I liked the new Woody Allen considering how mediocre the reviews were. It belongs with Allen's darker films like Crimes And Misdemeanors and Cassandra's Dream. But damn, it takes forever to get its rhythm going. It's nothing fresh especially if you've seen Crimes, Cassandra and Match Point then you pretty much know where it's going. The ending is a little too obvious but the three leads (Parker Posey is the third player) bring some nice shadings to their characters. If you're a fan of Allen, Phoenix or Stone then you should be kept intrigued but others may have a tougher time of it. Nicely shot by Darius Khondji. With Jamie Blackley.

In ancient Egypt, cats were worshipped as gods. They have never forgotten this

Re: Tragedy Dragon Smash Leende South Sail Male Clash Blues Soap Man

Actually there was a sequel to Deadlier Than the Male titled Some Girls Do. It didn't show up in the U.S. for a couple of years after it was produced, and that was via U.A., not Universal who released the first one.

It ain't easy being green, or anything else, other than to be me

Re: Tragedy Dragon Smash Leende South Sail Male Clash Blues Soap Man

I stand corrected! I don't recall it at all. It must have sneaked into the U.S. and dashed out very quickly. While I modestly enjoyed Deadlier Than The Male, I don't think I like it enough to seek out the sequel. Besides, Dahliah Lavi is no match for the one two punch of Koscina/Sommer!

In ancient Egypt, cats were worshipped as gods. They have never forgotten this

The sequel is pretty poor

1967's Deadlier Than the Male is the kind of film that Mike Meyers must have loved growing up, reinventing Sapper's Bulldog Drummond for the swinging Sixties as a James Bond-style insurance investigator-cum-superspy in a plot filled with killer cigars, giant chessmen, female assassins and delightfully fey villainy from Nigel Green and casting one-time Bond candidate Richard Johnson in the lead. Unfortunately he's saddled with an American nephew in a futile attempt to catch a slice of the US market, while Suzanna Leigh, badly dubbed and moving with all the grace of a docker, scowl permanently in place, is hardly anybody's idea of a Bond girl. But against that there's Elke Sommer's enthusiastic sadist and light fingered nympho Sylvia Koscina offing various oil executives, the film makes swinging 60s London look great and it's as stylish as a vintage Avengers episode, offering lots of fun without ever outstaying its welcome.

Sadly, the sequel, Some Girls Do, does just that, and surprisingly quickly. More a rehash than a sequel, simply swapping oil for planes in what desperately wants to be a British version of an Our Man Flint film but doesn't even come close to being a British In Like Flint. This time Drummond's ditched the nephew but is saddled with Ronnie Stevens' awfully nice embassy official-cum-bodyguard (“Call me Butch”) and Sydne Rome's kooky ditz following him around like a lovesick puppydog. As if that weren't enough, the film constantly undermines him at every turn, be it a bad knee that makes him seem a bit of a codger or a wardrobe that makes him look too much like a knockoff of Connery's Bond without any of the ability. Nigel Green has been replaced by James Villiers as the would-be supervillain with Napoleonic delusions but who dresses like Wellington (“Never back a loser”), but despite a couple of bits of effective makeup there's not much he can bring to what's a surprisingly dull party. Even the visuals are uninspired, the decision not to shoot in the same 2.35:1 widescreen ratio as its predecessor making it feel at times like a busted TV pilot.

Unlike you, I was disappointed with Miami Blues, probably because I'd read the excellent novel before seeing the film.

Miami Blues is the kind of film you'll probably enjoy more if you haven't read Charles Willeford's influential and hugely entertaining pulp thriller, but even if you haven't you might still wonder why an idea this good doesn't work better. Freddy Frenger Jr. (Alec Baldwin) is a sociopathic ex-con and petty crook who accidentally kills a Hare Krishna at an airport after stealing some luggage and who takes up with Jennifer Jason Leigh's naïve prostitute Susie. Funding his lifestyle by beating up pickpockets, he finds a new scam when he steals detective Hoke Moseley's (your old pal Fred Ward) badge, gun and false teeth and finds that the first two can help him make even more money by pretending to be a cop and shaking down lowlives. Yet the film feels curiously arbitrary, with much of the motivation lost: where the novel set Moseley almost accidentally on Frenger's trail only to find Frenger going after him instead, here Frenger's attack on Moseley just seems to happen as a plot device to move the plot forward since their cat and mouse game over a shared meal is rather clumsily played.

Nor is Frenger as blithe a sociopath as he was on the printed page. Baldwin may offer a performance that's outside his usual comfort zone, but he's more oddball pretender than someone who doesn't really understand how the ‘normal' world works but can just about fake emotions convincingly enough to get what he wants from people dumber than him, and the script imposes limits on his darker side to keep the audience's sympathy. Ward doesn't really make much impression as Moseley either despite his appealing total lack of onscreen vanity, though Leigh's ‘Princess Not so Bright' has one great moment where she tries to hide her heartbreak at the discovery of Frenger's true career by reciting a recipe for vinegar pie. The film does drop the one huge coincidence that the novel hinged on (the dead Hare Krishna was Susie's brother) and there are a few quirky touches, not least casting the film's co-producers as Hare Krishnas, but it constantly leans towards the ordinary and slightly homogenized. Maybe if Jonathan Demme hadn't dropped out as director and Gene Hackman had stayed on as Hoke (Ward, who co-produced, was originally going to play Frenger until Orion insisted on a younger and sexier actor) it might have focused more on the quirks of character but with its two main characters having the rough edges that made them so intriguing ironed out it's the kind of film that isn't bad but just isn't good enough, never really flowing terribly well and too often feeling like it's hitting the plot points while missing what made Willeford's novel stand out.


"Security - release the badgers."

Re: The sequel is pretty poor

In that case, I'm glad I haven't read Willeford's novel. The movie, as is, and especially Jason Leigh's performance worked for me. I was a voracious reader in my teens and 20s and I've always wondered why I stopped. I think subliminally it might have been because it ruined too many movies for me.

In ancient Egypt, cats were worshipped as gods. They have never forgotten this

Books are usually superior to films.

Thankfully I have read a lot of mysteries, so I know that those films which I love so much are usually inferior to the novels/short stories. Oh, they're good films, but the books are better in almost all cases.

Film profs and film students should be required to read books as part of the film courses, so that they can see that the movies which they teach/study (almost always based on literature) aren't as good as the original source material. Maybe they won't have so many complaints about remakes if they see that the "original" versions have already appeared in print and in the bookstores. (For example, the "original" The Maltese Falcon is a story, not the 1931 version seen on the big screen.)

~~~~~
Jim Hutton (1934-79) and Ellery Queen =

Re: Books are usually superior to films.

Um, I don't think I've ever heard anyone complain about a filmed version of a novel being a 'remake' of it. Most people do sort of understand the difference between the two mediums.

Re: Books are usually superior to films.

Books are the ones on that white stuff you have to turn over when you've finished saying the words out loud, right?


"Security - release the badgers."

Re: Books are usually superior to films.

Just don't go starting up that there's a connection between reading preferences and intelligence.



It ain't easy being green, or anything else, other than to be me

Re: Books are usually superior to films.

Oh, I'm sure that there are plenty of "great brains" who think that there's a link between favourite books and intelligence. Those kinds of attitudes will never go away.

~~~~~
Jim Hutton (1934-79) and Ellery Queen =

Re: Books are usually superior to films.


Oh, I'm sure that there are plenty of "great brains" who think that there's a link between favourite books and intelligence. Those kinds of attitudes will never go away.


Uh, darlin', there is. You don't see too many folks who test low on the IQ scale reading Dostoyevsky, Shakespeare, Orwell, Austen, Tolstoy, Peacock, Marlowe, Pope, Voltaire and etc. (to name the tiniest handful). That's what authors like Judith Krantz and Danielle Steel are for--not to mention the chick who wrote Fifty Shades of Crappola and the one who wrote Twilight--to create a sub-literature for those whose abilities can't/won't handle anything more heavy-duty than the literary Kleenex they churn out.

Re: Books are usually superior to films.


Books are the ones on that white stuff you have to turn over when you've finished saying the words out loud, right?



Do you think she reads without moving her lips?

Re: Books are usually superior to films.

No, I think she moves her lips without reading.


"Security - release the badgers."

Re: Books are usually superior to films.

Nice one.

Re: Tragedy Dragon Smash Leende South Sail Male Clash Blues Soap Man

I believe that here in NYC, it played bottom of the bill to one of those Sabata movies. James Villiers was a poor pinch hitter for Nigel Green.

In between, Johnson appeared in Danger Route which was closer to Harry Palmer than James Bond, but as with Some Girls Do, I've not seen a sign of it since it was domestically released by U.A. in 1968. Maybe its failure had to do with Some Girls Do being shelved.



It ain't easy being green, or anything else, other than to be me

Re: Tragedy Dragon Smash Leende South Sail Male Clash Blues Soap Man

Another hole in my film going ... I've never seen a Sabata film. Am I missing out or will I survive?

In ancient Egypt, cats were worshipped as gods. They have never forgotten this

Re: Tragedy Dragon Smash Leende South Sail Male Clash Blues Soap Man

You'll survive, though the two Lee Van Cleef ones aren't without some interest: both have elements that were later borrowed for Roger Moore's Bond films (the opening of Return of Sabata is pretty much the opening of The Man with the Golden Gun), the scores are dementedly fun and the first film boasts a villain who looks like the waxworks lovechild of Andre Previn and Neil Diamond, which is something you don't see every day.


"Security - release the badgers."

Re: Tragedy Dragon Smash Leende South Sail Male Clash Blues Soap Man

I've seen them all and have never had the desire to see any of them again. The Brynner one was actually a character named Indio Black prior to the dubbing, but morphed into Sabata for American audiences.

Oddly enough, around the same time, Lee Van Cleef was playing Chris in The Magnificent Seven Ride a title which if filmed, would have been more interesting than the film that was released. Funny that both George Kennedy and Lee Van Cleef wore among the worst hairpieces ever seen while playing the role made famous by a man with a shaved head.



It ain't easy being green, or anything else, other than to be me

Tommy Lee has 'em both beat

Re: Tommy Lee has 'em both beat

I think that Van Cleef's brain doily in God's Gun was worse than in the last Mag 7 movie.

http://3.bp.blogspot.com/-WwEeZIxFMMI/VaAZz-zQSSI/AAAAAAAAGfw/gGNyt9DIs2U/s1600/image0003.jpg

I couldn't find a good close-up to which I could link. That movie has to be seen to be disbelieved. It also has what may be the worst ever Jack Palance performance and that's saying a lot.



It ain't easy being green, or anything else, other than to be me

In Tommy Lee's defense -

- the character he was playing did reputedly have the worst wig of the 19th Century, though it fooled one female admirer who asked for a lock of his hair only for him to take off his wig and tell her "Here, madam, you may have it all." That said, his wig still looked much more convincing than Tommy Lee's:

https://upload.wikimedia.org/wikipedia/commons/f/f8/Thaddeus_Stevens_-_Brady-Handy-crop.jpg

What's Van Cleef's excuse? Did someone tell him he was making Mitch Miller - The Early Days?

http://3.bp.blogspot.com/-BZ_MebkeZNw/T4Xc6_qkW9I/AAAAAAAAA1A/H74ULT8Bjxc/s1600/ggwig.jpg


"Security - release the badgers."

Re: In Tommy Lee's defense -

That's the Van Cleef photo that I was trying to link, but it kept showing up here with a different image when I did a post preview. I gave up.

Either Thaddeus had a better make-up man or Tommy Lee is looking rather pruned these days. I've got an aged neighbor who must be wearing the same rug that he owned in 1980. The hair color just doesn't work with the pallor of a person of his vintage nor with the wrinkles that he has.

It's also rather ill-fitting.

It ain't easy being green, or anything else, other than to be me

Re: In Tommy Lee's defense -

Much like the mystery of Walter Matthau's hair getting blacker as he got older...

https://s-media-cache-ak0.pinimg.com/736x/79/bb/c7/79bbc7e08154273cb3cc153ee7ed5815.jpg


"Security - release the badgers."

Re: In Tommy Lee's defense -

Matthau claimed to have sent a pubic hair to some critic who commented upon his "obviously dyed hair."



It ain't easy being green, or anything else, other than to be me

Re: In Tommy Lee's defense -

Did he say whose it was?


"Security - release the badgers."

Re: In Tommy Lee's defense -

He probably picked it up in the men's room at Santa Anita.

But if the story is true, someone would probably bid for it on Ebay.



It ain't easy being green, or anything else, other than to be me

Re: Tommy Lee has 'em both beat

Haha! How did I just know before I even clicked on your James Earl Jones link that it was going to be a still from Conan The Barbarian!

In ancient Egypt, cats were worshipped as gods. They have never forgotten this
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