Classic Film : What classics did you watch this week? (7/4-7/10)

What classics did you watch this week? (7/4-7/10)

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

You know who else was just following orders? HITLER!

Mostly new stuff, a couple of '60s Japanese films, Fellini

Danger Pays (Ko Nakahira, 1962) - Jo Shishido stars in this crime comedy from Crazed Fruit director Ko Nakahira. It's not a particularly good film, but it's colorful. It's worth watching just for Shishido's sweet pimp suit and tiny, three-wheeled car. Ruriko Asaoka is also cute as the lead actress. 6/10. mixed.

Murder Unincorporated (Haruyasu Noguchi, 1965) - Jo Shishido stars in this crime comedy. This one's very goofy, kind of similar to wacky '60s comedies like What's New Pussycat? I'm not a big fan of those kinds of movies, but this one isn't bad. It's not good, either, really. When a group of bigwig crooks are targeted by assassin Joe of Spades (Shishido), they hire a group of nutty assassins to protect them and hopefully kill Joe. Among them are a baseball nut, a little person, and a guy who kills with his bullet-shooting book of poems. Shishido is not revealed to be Joe of Spades until near the end (the audience should figure it out earlier, obviously), and he infiltrates the league of assassins as the apprentice of one dufus assassin (not sure who this actor is, but he's pretty funny). The movie has some laughs but is also somewhat annoying. This was the third and final film on Arrow's new Nikkatsu Diamond Guys: Vol. 2 release. I didn't like any of the three (though they're all more mediocre than bad). The release is still of interest to Japanese movie fans, but I'd recommend renting it before buying it, if at all possible. 6/10. mixed.

Boy and the World (Ale Abreu, 2013) - One of the more interesting and beautiful animated features to come around in the past few years, this Brazilian film follows a young boy as he searches the world for his father. The style is of a child's drawing. This is quite lovely, but the abstract nature of the story and the animation didn't really allow me to find an emotional connection. After a while, I became a little bored. Still, this is a must-see for any fans of animation. 7/10. yes.

The BFG (Steven Spielberg, 2016) - Perhaps not amongst Spielberg's best films, but it's still pretty damn magical. The best moments are the quieter ones where Sophie (wonderful newcomer Ruby Barnhill) and the BFG (Mark Rylance, tremendous) just converse. It helps that Roald Dahl's giant dialogue is hysterical. The action set pieces vary in quality, but they're mostly fun. The sequence where BFG and Sophie catch dreams is really wonderful. I had forgotten the story went the way it eventually does (I've seen the 1989 animated film, but not read the book). It's silly, but silly in a fun way. One of the finer pleasures of the summer of 2016. 8/10. yes.

Cell (Tod Williams, 2016) - A pretty standard zombie story adapted from a Stephen King novel (by King). Cell phones drive most of the people on Earth into a murderous rage (this is more 28 Days Later zombie than Romero zombie). John Cusack and Samuel L. Jackson are the two big stars who survive the initial zombification. Stacy Keach also has a small part. It's decent enough for most of its run, with a good eye for mood. It's too bad it arrives at a confusing and unsatisfying finale, or it might be worth checking out. 5/10. no.

Mike and Dave Need Wedding Dates (Jake Szymanski, 2016) - This dumb comedy has a few laughs, but ultimately is unsatisfying. Adam Devine and Zac Efron play a couple of dufuses who are forced by their sister (Sugar Lyn Beard) and father (Stephen Root) to find dates for her Hawaiian wedding. The brothers post an ad on Craigslist which goes viral (this much of the film was based on a true story). They soon attract two sloppy potheads, Aubrey Plaza and Anna Kendrick, who pretend to be normal, upstanding ladies to win the trip. When they get there, their baser natures soon fly free. The four of them get into a bunch of trouble. I saw this mainly for Kendrick and Plaza, who are both funny and extremely sexy in the film. Of the two guys, Devine gets a few good moments. Efron doesn't get much to do at all, which is disappointing considering his excellent turn earlier this year in Neighbors 2. The main problem here is a lack of ambition. The cast is game, but the screenwriter (and I'm sure the army of punch-uppers behind the scenes) don't give them enough funny jokes. It wouldn't be a bad way to waste a Sunday afternoon, but I wouldn't make an effort, either. 6/10. mixed.

X-Men: Apocalypse (Bryan Singer, 2016) - As the final film of the early X-Men trilogy, this is kind of a disappointment. X-Men: First Class and X-Men: Days of Future Past would probably both be amongst my top 10 comic book movies. Still, this isn't bad. It's very clunky in its storytelling, especially up front, where it has a lot of unsatisfying exposition. Once it gets moving, though, it's decent. It really helps that the finale is very good. As with Days of Future Past, Quicksilver steals the movie. I personally liked Oscar Isaac as Apocalypse, which a lot of people (including Isaac himself) didn't. Apocalypse is a hard character to translate into a live action film, but I like the way Isaac played him. 7/10. yes.

Re-watched

Satyricon (Federico Fellini, 1969) (second viewing) - This was my first Fellini film, seen back when I was a wee teenager. It was, one might expect, not a great place to start. Seeing it for a second time some 20 years later, I still find it kind of impenetrable, but also that it's very much meant to be impenetrable. I was aware at the time that the original Roman work upon which it is based was fragmentary, and I may have appreciated what Fellini was going for, but that didn't mean I wasn't annoyed. Nowadays, I'm much less annoyed. It is indeed a fascinating work. I am not sure I find it 100% successful even now, but I enjoyed it to a certain extent. It's weird and often beautiful (and often ugly in a beautiful way). It is Fellini's biggest freakshow, and it's intriguing in that way. I also like how its fragmentary nature becomes almost dreamlike - you often can't recall how exactly we got to wherever we presently are. 7/10 (from 5/10). yes.

Only Yesterday (Isao Takahata, 1991) (second viewing) - I liked this a lot when I first saw this only a few years ago, but was perhaps slightly disappointed that it didn't live up to my sky-high expectations. The second time around, well, I absolutely fell in love with it. I definitely see it as amongst the best of Ghibli's output. It's a beautiful examination of how the events of the past shape us into the people we are in the present. It's finally out to own in North America. Now only Ocean Waves to go. Get on it, G-Kids! 10/10 (from 9/10). YES.

Frank (Lenny Abrahamson, 2014) (second viewing) - A rare quirky indie comedy that really works. That's because the quirks aren't just gags. They're endemic to the story. It also helps that the script, characterizations and performances are all ace. I think this is Michael Fassbender's best work. Stunt acting it may be, but he's really great at communicating Frank through the mask, mostly with his body movements. This was the movie that made me really take notice of Domnhall Gleeson, too. I'm glad he's made good on his promise. I also think it's Maggie Gyllenhaal's best performance. A very good film indeed. 8/10. yes.

You know who else was just following orders? HITLER!

Re: Mostly new stuff, a couple of '60s Japanese films, Fellini

That sounds like a good line on Satyricon - a classical epic which Fellini himself described as science-fiction. Of his three late fantasamagorie this is the one I've returned to least, but I suspect that its weirdness is addictive just as Casanova's by-and-large darker peculiarity can haunt like a recurring nightmare.

If they organise the revolution like they did this meeting, what'll happen?

Re: Mostly new stuff, a couple of '60s Japanese films, Fellini

Casanova remains unseen for me. It's only ever been available in a pan & scan copy that popped up on Netflix for a month. I almost watched it anyway. What would the third one be? Amarcord? Anyway, I thought Satyricon felt almost like a fantasy film at times, and was thinking I'd have loved to see an actual sci-fi or fantasy film from him.

You know who else was just following orders? HITLER!

Re: Mostly new stuff, a couple of '60s Japanese films, Fellini

The third one in my mind was Roma (the three films often prefaced by "Fellini's"), though Amarcord is also of a similar time.

If they organise the revolution like they did this meeting, what'll happen?

Re: Mostly new stuff, a couple of '60s Japanese films, Fellini

Oh, yeah, I saw that once years ago and hated it. I should probably give it another go some day.

You know who else was just following orders? HITLER!

Takahata, Gibney, Siegel, and Peckinpah

Heisei tanuki gassen ponpoko (1994) Pom Poko – Isao Takahata – 9/10 – Yes

Zero Days (2016) – Alex Gibney – 8/10 – Yes

The Shootist (1976) – Don Siegel – 7/10 – Yes

Pat Garrett & Billy the Kid (1973) – Sam Peckinpah – 6/10 – Yeah, I guess

jj


Re: What classics did you watch this week? (7/4-7/10)

Christabel (James Fotopoulos, 2001) 3/10

A Family Finds Entertainment (Ryan Trecartin, 2005) 6/10

The Abandoned / The Confines (Eytan Rockaway, 2015) 3/10

Copie conforme / Certified Copy (Abbas Kiarostami, 2010) 2/10

Ett drömspel / A Dream Play (Ingmar Bergman, 1963) 8-/10

Herr Sleeman kommer/ Mr. Sleeman Is Coming (Ingmar Bergman, 1957) 3/10

För att inte tala om alla dessa kvinnor / All These Women (Ingmar Bergman, 1964) 4+/10

Batman v Superman: Dawn of Justice 2D (Ultimate Edition) (Zack Snyder, 2016) 6+/10
Mark Zuckerberg was a weak villain.

Tatort: Aus der Tiefe der Zeit (Dominik Graf, 2013) 8-/10

Im Angesicht des Verbrechens: "Berlin ist das Paradies" (Dominik Graf, 2010) 7/10

Im Angesicht des Verbrechens: "Der Ãœberfall" (Domink Graf, 2010) 6+/10

Im Angesicht des Verbrechens: "Wo wir sind, ist vorne" (Dominik Graf, 2010) 7/10

Im Angesicht des Verbrechens: "Der Verrat" (Dominik Graf, 2010) 7+/10

House of 1000 Corpses (Rob Zombie, 2003) (9th viewing) 10-/10 (from 9)

The Conversation (Francis Ford Coppola, 1974) (rewatch) 7-/10

Dark City (Director's Cut) (Alex Proyas, 1998) (4th viewing) 9-/10
One of the prime examples of an accidentally great film.

Blue Velvet (David Lynch, 1986) (6th viewing) 9/10

No Frank in Lumberton (Peter Braatz, 1988) 8-/10
Blue Velvet avant-garde making-of... The better 'Cuadecuc, vampir'. Not for the casual viewer, or even the casual Lynch fan.

Inland Empire (David Lynch, 2006) (5th viewing) 10/10


- Shorts -

5/4 (Ivan Maksimov / Ivan Maximov, 1990) 7/10

Bolero (Ivan Maksimov / Ivan Maximov, 1993) 6/10

Libido Bendzhamina (Ivan Maksimov / Ivan Maximov, 1994) 6/10

Skyscrapers and Brassieres (Russ Meyer, 1966) 3/10

The Hyrcynium Wood (Ben Rivers, 2005) (rewatch) 5/10

The Two Sights (Katherin McInnis, 2015) (rewatch) 5/10


- TV and Stuff -

Beavis and Butt-Head: all repeat viewings
Animation Sucks - 6
Blood Pressure - 6
Green Thumbs - 6
Impotence - 6
Choke - 7
Hard Sell - 6
Die Fly, Die! - 7
Speech Therapy - 7
Lightning Strikes - 6
Inventors - 6

Archer: "Achub y Morfilod" (2015) 7/10

Archer: "Drastic Voyage: Part 1" (2015) 7-/10

Louie: "Daddy's Girlfriend: Part 1" (Louis C.K., 2012) 6+/10

Seinfeld: "The Keys" (1992) (2nd+ viewing) 7-/10


- Didn't finish -
Mud (Jeff Nichols, 2012) [28 min]


- Notable Online Media -

Beastie Boys - Pass the Mic
Rob Zombie - The Life And Times Of A Teenage Rock God
Rob Zombie - We're An American Band
Sawdust and Tinsel: Ingmar Bergman introduction
David Lynch - The Dusty Wright Show
Why I Love The Darjeeling Limited
28 Days Later - Explained | Ryan's Theory
Why The Blair Witch Project is Important | Ryan's Theory
Honest Trailers - Jaws
The Revenant - Feral Tranquility
Everything Wrong With Zootopia In 9 Minutes Or Less
Zootopia Deleted Scene: Nick's Tame Collar
Killgore - Cyanide & Happiness Shorts
WHY IS CINEMA: SPRING BREAKERS and The Male Gaze (video essay)
Video Essay: INDEPENDENCE DAY "A Milestone Movie"
Jennifer Connelly - A woman on a pier (in Dark City, Requiem and House of Sand and Fog)
Why no aquarium has a great white shark
Retro Louis CK does impressions - 1995
The Sound Of Blade Runner / Candice drouet
The Unloved - Twin Peaks: Fire Walk With Me
Top 2:
What Is Cinema? (I) - Muge Yildizvor
Volumetric Cinema


- just another film blog -
http://perception-de-ambiguity.tumblr.com

Westerner, Wanderers, Mummy, Shawshank, Wicker, Passenger

The Westerner (1940)


Law West of the Pecos.

The Westerner is directed by William Wyler and written by Niven Busch, Jo Swerling and Stuart N. Lake. It stars Gary Cooper, Walter Brennan, Fred Stone and Doris Davenport. Music is by Dimitri Tiomkin and cinematography by Gregg Toland.

Story is a fictionalised account about Judge Roy Bean (Brennan), who here rules Vingaroon Town by his own law and punishment. When suspected horse thief Cole Harden (Cooper) comes under his judicial system, they become odd friends due to Harden claiming to know personally Lily Langtree - the object of Bean's worship.

Lots of uncredited work was involved in the making of The Westerner, while Cooper famously sulked about not having the main character role, so much so his part was expanded and he performed under contract but under protest! Fact is is that it is as everyone has said before, Brennan steals the film regardless, winning a Best Supporting Actor Oscar in the process. Cooper needn't have worried, he's very good here, turning in a number of various strains to Harden's character, bouncing off of Brennan to the pics eternal benefit.

At the core of the plot is a good old fashioned thread involving Homesteaders versus Cattlemen, with Bean throwing his weight around and Harden forced to reevaluate his standing in the town when he falls for Jane Ellen Mathews (Davenport). The Lily Langtree (Lilian Bond) strand gives the pic an offbeat sensibility, making this a sort of dramatic comedy oater, but it works really well. Toland's photography is superb, sharp black and white sequences are given ethereal qualities, hinting at the fact this at times fun picture might be leading to a darker path?

Davenport is weak and most of the supporting players struggle to make much of an impact, but come the attention grabbing finale you know you have been fed a wholesome western of substance. Propelled by two acting legends. 7/10


The Mummy (1932)


Put it back. Bury it where you found it. You have read the curse. You dare defy it?

The Mummy is directed by Karl Freund and written by Nina Wilcox Putnam, Richard Schayer and John L. Balderston. It stars Boris Karloff, Zita Johann, David Manners, Arthur Byron, Edward Van Sloan, and Bramwell Fletcher. Music is by James Dietrich and cinematography by Charles J. Stumar.

The first of Universal's Mummy films follows the story of Imhotep (Karloff), who after being awaken from his tomb by expedition workers, believes his lover has been reincarnated in the body of a modern woman.

It's undeniably slow moving, it's stagy, and away from Karloff the acting and dialogue is just about reaching average qualities. Yet there's a haunting quality to the pic, with a number of genuinely eerie sequences. The shadowed photography helps greatly for funereal atmospherics, while it's somewhat refreshing to find a film of this type not resorting to shock tactics to get your attention.

An important film in a lot of ways and well worth a look for those interested in the history of Horror Film. 7/10


The Wicker Man (1973)


I believe in the life eternal, as promised to us by our Lord, Jesus Christ.

Mainland Sergeant Neil Howie (Edward Woodward) flies off to the remote Scottish island of Summerisle to investigate the disappearance of a 12 year old girl. What he finds is a culture steeped in Paganism, presided over by Lord Summerisle (Christopher Lee). Meeting static and indifference wherever he goes - and being driven to anger by the assault on his Christian beliefs - Howie is very much a man alone and most likely in grave danger?

Directed by Robin Hardy and adapted to screen by Anthony Shaffer from David Pinner's novel, Ritual, The Wicker Man is very much a cult masterpiece. The back stories to it could make a film all by itself, be it censor baiting, studio cuts, body doubles or just plain offending religious groups, it's a film that is well worth looking into via the top range home format releases.

From the moment Howie (a truly brilliant Woodward) lands at Summerisle everything seems off, there's a sinister atmosphere pervading the story. He is met by unnerving imagery wherever he goes, songs and rituals gnawing away at his senses, there's even eroticism deftly placed within the film's master plan. He doesn't know what's going on, and neither do we, this is a mystery right? There is after all a missing child to be found, right? But once Lord Summerisle (Lee also terrific) enters proceedings and ups his game, things unravel in edgy fashion, building up to the justifiably famous and harrowing finale.

Some modern horror fans may baulk at the lack of bloody carnage et al, but this is classic horror. A horror film bulging with intelligence and pulsing away with literate smarts. 9/10


The Shawshank Redemption (1994)


Some birds aren't meant to be caged.

The Shawshank Redemption is written and directed by Frank Darabont. It is an adaptation of the Stephen King novella Rita Hayworth and Shawshank Redemption. Starring Tim Robbins and Morgan Freeman, the film portrays the story of Andy Dufresne (Robbins), a banker who is sentenced to two life sentences at Shawshank State Prison for apparently murdering his wife and her lover. Andy finds it tough going but finds solace in the friendship he forms with fellow inmate, Ellis "Red" Redding (Freeman). While things start to pick up when the warden finds Andy a prison job more befitting his talents as a banker. However, the arrival of another inmate is going to vastly change things for all of them.

There was no fanfare or bunting put out for the release of the film back in 94, with a title that didn't give much inkling to anyone about what it was about, and with Columbia Pictures unsure how to market it, Shawshank Redemption barely registered at the box office. However, come Academy Award time the film received several nominations, and although it won none, it stirred up interest in the film for its home entertainment release. The rest, as they say, is history. For the film finally found an audience that saw the film propelled to almost mythical proportions as an endearing modern day classic. Something that has delighted its fans, whilst simultaneously baffling its detractors. One thing is for sure, though, is that which ever side of the Shawshank fence you sit on, the film continues to gather new fans and simply will never go away.

It's possibly the simplicity of it all that sends some haters of the film into cinematic spasms. The implausible plot and an apparent sentimental edge that makes a nonsense of prison life, are but two chief complaints from those that dislike the film with a passion. But when characters are this richly drawn, and so movingly performed, it strikes me as churlish to do down a human drama that's dealing in hope, friendship and faith. The sentimental aspect is indeed there, but that acts as a counterpoint to the suffering, degradation and shattering of the soul involving our protagonist. Cosy prison life you say? No chance. The need for human connection is never more needed than during incarceration, surely? And given the quite terrific performances of Robbins (never better) & Freeman (sublimely making it easy), it's the easiest thing in the world to warm to Andy and Red.

Those in support aren't faring too bad either. Bob Gunton is coiled spring smarm as Warden Norton, James Whitmore is heart achingly great as the "Birdman Of Shawshank," Clancy Brown is menacing as antagonist Capt. Byron Hadley, William Sadler amusing as Heywood & Mark Rolston is impressively vile as Bogs Diamond. Then there's Roger Deakins' lush cinematography as the camera gracefully glides in and out of the prison offering almost ethereal hope to our characters (yes, they are ours). The music pings in conjunction with the emotional flow of the movie too. Thomas Newman's score is mostly piano based, dovetailing neatly with Andy's state of mind, while the excellently selected soundtrack ranges from the likes of Hank Williams to the gorgeous Le Nozze di Figaro by Mozart.

If you love Shawshank then it's a love that lasts a lifetime. Every viewing brings the same array of emotions - anger - revilement - happiness - sadness - inspiration and a warmth that can reduce the most hardened into misty eyed wonderment. Above all else, though, Shawshank offers hope - not just for characters in a movie, but for a better life and a better world for all of us. 10/10


The Wanderers (1979)



Rumble in the Bronx.

The Wanderers, an Italian street gang in the Bronx 1963, preparing for a rumble with rival gang the Del-Bombers, try to enlist other gangs to help their cause. However, as the times are a changing, The Wanderers and all the other gangs of the city must come to terms with pending adulthood, and, the ending of an era.

Directed by Phillip Kaufman, this adaptation of Richard Price's novel stands up as one of the best pictures to deal with gang culture. Laced with crackling adolescent humour, and sublimely sound tracked, The Wanderers triumphs better than most because it captures the time frame perfectly. Encompassing the killing of JFK, and subtly showing (during an hilarious sequence) the enlisting of ignorant youths into the Marines, to be carted off to Vietnam no doubt, The Wanderers has far more to offer than merely angst and high school jinx. The cast are surprisingly strong, Ken Wahl, Karen Allen, Tony Ganios and Erland van Lidth all shine in their respective roles, whilst Kaufman directs with a knowing sense of purpose of the thematics to hand. All of which culminates in a quite eerie final third as the deadly Ducky Boys enter the fray. Not quite as serious as The Warriors, which was released the same year, it's a film that much like this one now feels part of my teen education. The Wanderers is however the smarter picture of the two in terms of substance. The coming together at the finale, the racial harmony bursting out from the screen, is and always should be eternally embraced.

All together now, "I'm the type of guy who will never settle down" 8/10


Passenger 57 (1992)


Wesley Snipes vs The Rane Of Terror. Or should that be our Pain at the Terror?

Of all the Die Hard clones there have been, and there have been many! Passenger 57 may just be the worst. The story follows Wesley Snipes' airline security expert John Cutter, who whilst undertaking a flight to L.A. gets embroiled in a hostage takeover led by evil bad man with a troubled childhood, Charles Rane. Cue quips, kicks and death defying tricks as Cutter strikes one for the good guys. Kevin Hooks' film works well enough on a very basic actioner level, due in the main to Snipes. Snipes was six years away from his signature role in Blade, and for sure he is a bona fide action star. As evidenced here, he has the charisma and body motions to carry the film thru its turgid script. It's a script that smacks of the writers sitting round a table and suggesting they put Snipes in a number of tricky situations and used that as an excuse for him to beat the crappola out of everyone. Oh and lets not forget the forced love story waiting to happen as well.

Ultimately it's just a lazy film that is the cash in that many realised it was upon its release. Bruce Payne manfully tries to make the unbalanced Charles Rane truly evil, but doesn't succeed. Liz Hurley, goddess of womanhood that she is, looks uncomfortable holding a gun, while leading lady Alex Datcher is hopelessly out of her depth. While the youthful looking Tom Sizemore and Bruce Greenwood also appear - but both are throwaway characters that you end up wishing we had had more of. Stanley Clarke's score is abysmal, it's the sort of score one expects to hear in a soft core porno movie - you know the kind where the protagonists are making love but they still have their underwear on! Yes that kind. Poor plotting, poor scripting and just about poor in technical execution. I don't ask much of the action genre, I really don't, but at least give the film some soul from which to entertain the popcorn masses. 3/10 for Snipes' fighting and Liz Hurley's legs.




The Spikeopath - Hospital Number 217

Re: Westerner, Wanderers, Mummy, Shawshank, Wicker, Passenger

I was wondering when you'd be getting around to The Westerner which we discussed here quite awhile ago after I reviewed it. Glad it found your approval although if I "rated" films I'd probably have given it an 8 instead of a 7

A 10 for the *beep* that is The Shawshank Redemption? Et tu, Spike?

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

Re: Westerner, Wanderers, Mummy, Shawshank, Wicker, Passenger

Yes thanks for the push with The Westerner, I'm glad I own it now.

I gave up a long time ago even discussing Shawshank on this site, the hateboys are just as bad as the fanboys. I love it deeply and I had the poster professionally framed and it hangs prominently in my lounge.

The Spikeopath - Hospital Number 217

French Brie Larson.

French Fest:

Le Corbeau: The Raven (1943) (Clouzot) 10

Stranger by the Lake (2013) 8

Lovers on the Bridge (1991) ( Leos Carax) 7

What a (Poo) Day! (1999) 8

Walls of Malapaga (1949) (Rene Clement) 8

Plein Soleil (1960) (Rene Clement)9

The Baby Sitter (1975) (Rene Clement)6

Non-French flicks:

Short Term 12:10

The Hypnotist:8

The Angry Birds Movie:8



Le Corbeau

It's superb isn't it?! I saw your review and ticked it.

Here's what I wrote in March 2014


The ink which makes blood flow.

Le Corbeau is directed by Henri-Georges Clouzot and co-written by Clouzot and Henri Chavance. It stars Pierre Fresnay, Ginette Leclerc, Pierre Larquey and Micheline Francey. Music is by Tony Aubin and cinematography by Nicolas Hayer.

We are in a small French town, the actual name of which is not known and is inconsequential. A series of poison pen letters are being sent out to the town dignitaries, accusing them of all sorts of inappropriate operations. The letters are signed by someone calling themselves Le Corbeau (The Raven), and pretty soon the town starts to implode as suspicion and mistrust runs wild.

Famously it was the film that saw Clouzot banned from making films, the then young director receiving flak from all quarters of the Vichy Government - Catholic Church - Left Wingers and others too! The asides to the Nazi occupation of France at the time not being acknowledged until some years later. That very theme obviously holds considerable weight, but it's not the be all and end all of Clouzot's magnificent movie.

Clouzot and Chavance tap into the troubling fallibility of the human race, portraying a town quickly submerged in moral decay. There is caustic observations on the higher echelons of society, a clinical deconstruction of a town quick to cast aspersions without thinking of consequences, while the script boasts frank intelligence and no fear of censorship. That a town so ripe in respected denizens could become so diseased, so quickly, makes for powerful viewing. All are guilty as well, nobody escapes, even the youngsters are liars or cheats, thieves or rumour spreaders, this be a Hades town where negativity runs rife and leads to broken bodies, broken souls and broken human spirits.

Very much a bastion of proto-noir cinema, it's photographed with an awareness to marry up to the acerbic thematic at work. Shadows feature prominently, even in daylight, canted angles are used to great effect, broken mirrors perfectly imbuing the fractures of the human psyche. A number of scenes are startlingly memorable, a funeral procession and a church service interrupted by one of The Raven's letters are superbly staged, the pursuit of a nurse through the cobbled streets is menacing, and the finale is hauntingly raw. Top performances across the board from the cast brings further rewards, whilst simultaneously adding more plaudits to Clouzot's direction. All in all, a remarkable, fascinating and potent piece of cinema. 9/10


The Spikeopath - Hospital Number 217

Re: Le Corbeau

Hi Spike,thank you for sharing your superb review (which I've also ticked) and that one thing which really caught my eye,was how the old women who shuttles off at the end looked like the mum of the Woman In Black!

Speaking of HGC,I was wondering you've seen Wages of Fear,with the BFI bringing it out on Blu in Oct:

https://www.amazon.co.uk/Wages-Fear-Limited-Dual-Format/dp/B01305F7G8

Looking across the pond,I think that you would be really taken by the incredibly touching indie Drama Short Term 12:


https://www.amazon.co.uk/Short-Term-DVD-Brie-Larson/dp/B00G3AOWGE

Here are comments from a Horror boarder (!) about the film:

www.imdb.com/board/bd0000024/thread/259206817?p=2&d=259235888#259235888

Re: Le Corbeau

Yep, own Wages of Fear in a HGC Box Set. A very good film but even though it is considered heresy around here, I actually prefer the remake Sorcerer (1977).

Thanks for the rec!

The Spikeopath - Hospital Number 217

Re: What classics did you watch this week? (7/4-7/10)

Part 26 of my Asian Horror “Year In Review” playlist is now up. It covers the lesser films released during 2004: https://www.youtube.com/watch?v=2rG6DyCWieA

Here are the films I saw this week.

Highly Recommended

The Thieves (2012) (Korean Action/Drama) (repeat viewing) – This is a casino heist movie with a loaded cast of recognizable Korean and Chinese actors. I liked Ji-hyun Jun the best, probably because she is on top of her game here (and really hot too!). The first half is similar to “Ocean's Eleven”, but the second half diverges greatly and has a number of surprises. There are some awesome scenes involving repel lines, the highlight being a shootout along the side of an apartment complex. There is lots of scheming between the characters, which requires the viewer to pay close attention to recognize all of the little details. This is a crowd-pleaser that is a lot of fun to watch.

Recommended

Time Renegades (2016) (Korean Mystery Thriller/Drama/Romance) – A high school teacher in 1983 and a detective in 2015 join forces through their dreams to change the perilous fate of the woman (Su-jeong Lim) they both love – 30 years apart. This movie is surprisingly intense, with a few disturbing moments despite the lack of graphic violence. This murderer is one tough son-of-a-b*tch who kills a lot of people. He also seems to have the upper hand most of the time, which provokes an emotional response from the viewer who will really want this scumbag to get taken down. There are a few unexpected twists and the ending is emotionally affecting. This genre-bender is probably director Jae-young Kwak's most interesting film since “My Sassy Girl.”

Ghost House (2004) (Korean Comedy/Horror) (repeat viewing) – Funny stuff. A man unknowingly moves into a haunted house and must deal with all sorts of inconveniences like flying teddy bears, an onryo stripper, severed hands/feet, a massive army of irate chickens, a cute but sassy poltergeist, and a really pissed off couch. Protagonist is a bit nutty and whiny, but he settles down a bit during the second half and it's fun watching this poor guy get harassed and consistently beaten up physically throughout the entire film. During the latter half, the storyline keeps things fresh by shifting a bit towards a supernatural romantic comedy with a supplemental threat of demolition to the house by a crazed businessman. A genre-bender to say the least, and a good one at that.

The Haunted Drum (aka Perng Mang) (2007) (Thai Horror) – Set in a rural village, a group of young men take an oath to dedicate their lives to a band that plays traditional Thai music, but this responsibility is a difficult one because the training is hard and the lifestyle is in poverty. Human conflict then creates the possibility of betrayal and supernatural deaths. The script focuses a lot on story and drama, which works well. There is a romantic subplot, but much of the conflict is in the form of rivalry between two music teachers. The horror scenes are creative and moderately violent, with an emphasis on twisted body parts and self-mutilation.

Spider-Man (2002) (American Action/Drama) (repeat viewing) – When bitten by a genetically modified spider, an awkward high school student gains spider-like abilities that he eventually must use to fight evil as a superhero after tragedy befalls his family. This has energetic direction and some visual cues from comic books. The story does rely on some contrivances, but it's actually pretty good regardless. The Uncle Ben subplot works well, and the viewer can really understand the bad decision that the protagonist makes. Also, I liked the Peter/Harry dynamic, and how it had a multi-dimensionality to it. Willem Dafoe hams it up, but I liked it. Kirsten Dunst is really hot in these movies, but her character is an annoying, two-timing wench. The action is cheesy and reminded me of the Turbo Man finale in “Jingle All the Way”, but it's still moderately entertaining.

Spider-Man 2 (2004) (American Action/Drama) (repeat viewing) – Peter Parker is beset with troubles in his failing personal life as he battles a brilliant scientist named Doctor Otto Octavius. This film is not quite as good as I remember, as it has a lot of flaws. We begin with Mary Jane, who is still a two-timing wench who attempts to seduce Peter while she has a fiance – her character is a reprehensible flirt who is totally unlikeable. The pacing in this film drags a bit, with the 127-minute runtime not helping matters. The opening 30 minutes are slow, as the film repeatedly beats the viewer over the head by making the point that Peter is late for all of his everyday tasks because he's too busy being Spider-man. (They could have easily cut out the “late for work”, “late for college”, and “late for paying rent” scenes by simply keeping the “late for MJ's performance” scene, which is sufficient enough.) Then we have the romance, which is very simplistic despite taking up a lot of runtime. Finally, there are some contrivances again (Peter's personal relationship with the villain yet again, his family/friends being in mortal danger, MJ's fiance just so happens to be the son of Jonah Jameson, etc.). With all of that said, however, there are enough positives that make this watchable, and the action is an upgrade over its predecessor. It's still cartoonish, but the train sequence is creative and fun to watch. I also liked how the mood and mentality of the protagonist affected his superhero abilities. Unlike X-Men 2, this one does not hold up quite as well over time.

Not Recommended

Don't Look Now (1973) (British/Italian Drama/Horror) – After losing their daughter in a drowning accident, a married couple relocate to Italy, where they meet a psychic who claims that she sees the child's spirit. The story is generic and totally uninteresting, with boring patches littered throughout. A large chunk of the middle section is dedicated to showing one character who walks around aimlessly; literally nothing happens. The dialogue is stiff, weakly written, and frankly silly. The acting is systematically poor – even Donald Sutherland seems off his game here. I felt like punching the wife in the face throughout the entire film, and she's a protagonist! The sound design is also very uneven. Some scenes drag on for too long, especially the lame sex scene. There are a few nice camera shots here and there, but overall this movie sucks.

Spider-Man 3 (2007) (American Action) (repeat viewing) – A strange black entity from another world bonds with Peter Parker and causes inner turmoil as he contends with new villains, temptations, and revenge. The story is horribly written and boring, with contrivances littered all over the place. This film should have been titled “Just So Happens” because people and things “just so happen” to be in a particular place and time to drive the plot forward. The filmmakers also chose to re-write stuff from the first Spider-Man film in stupifying ways, just so there's more conflict in this one. Oh, there's a cliched amnesia plot device tossed in as well. Tons of special effects are used that do not hold up well today. Some of the action is decent, but it's also weightless and very cartoonish. Peter makes some dumb-as-dirt decisions for no good reason, other than to cause romantic conflict with MJ, who promptly goes back to her good ole, two-timing self before properly rectifying matters. I've never liked Thomas Haden Church as an actor, and he's terrible here. Most ironically, some of the most entertaining moments occur during the notorious “black spidey” stage that everyone hates, if only because those moments are so over-the-top and goofy. And any time this film tries to do something serious, it falls apart. At 139 minute, this one is tough to sit through.

YouTube Asian Movie Review Channel
https://www.youtube.com/user/anticlimacus100

Re: Don't Look Now / The Thieves

Yeah, if you expected a traditional narrative from Don't Look Now, I'm not surprised that you were disappointed. It has admittedly been a good half-decade or so since I have last seen it myself, but it was one of the first films that really got me into cinema and it freaked me out like anything as a kid. Yes, there's a lot of wandering and limited action, but that's because the movie is so heavily invested in the mindset of the characters and their heartbreakingly irrational belief that their daughter could possibly still be alive. The film has some neat ironies too (the daughter drowns wearing a raincoat design to protect her from water, then the parents move to a city entirely built on water). The film's a personal favourite if you will.

And thanks for the heads-up on The Thieves. I have never heard of it before, but the review on the film's main page suggests a cross between (indeed) Ocean's Eleven and The Italian Job - both very watchable movies that I tend see around once a year.

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

The Angry Hills - Sword of Doom - Star trek first Contact

Star Trek - First Contact (1994) A dull Star trek movie with the charisma free TNG cast. Feels like a mediocre 2 hour TV episode. When Captain Picard runs into a sassy machine gun toting black women you know you're not in a quality movie.

The Angry Hills (1959) – Robert Mitchum stars as American journalist in 1941 Greece who becomes involved with the Greek resistance after the German invasion. Well cast and well acted, it is beautifully shot in Greece by Robert Aldrich. The actresses in particular are good and very beautiful. However, it's also uninvolving, rambling and at times downright dull. Blame the script or maybe the source novel by Leon Uris. A movie about the Greek Civil War probably would've been more interesting and done better box office in 1959.

Sword of Doom (1966) - A disappointment. The film tells the story of a sociopath samurai who leaves a trail of blood and vendettas wherever he goes. Well acted and photographed, l was expecting a little more given the high praise and the Criterion release. Our anti-hero Samurai is interesting at first, but his lack of emotion and unchanging attitude soon turns him – and his story - into a bore. After an hour, I no longer cared if he lived or died. Even worse, are the silly fights where one Samurai kills 15 opponents. Like Bruce Lee's clay pigeons - no one thinks of attacking him all at once. Too bad, because the supporting characters are quite good and the film seems like a life-like portrayal of Feudal Japan (actually the 1850s).

Spectre (2015) – I turned this off after 15 minutes. I was so bored, the same old explosions, chase scenes, M, etc. – it all seemed so tediously familiar. Guess, I wasn't in the right mood for a 21st Century James Bond film. I'll give it another chance - later.

Re: The Angry Hills - Sword of Doom - Star trek first Contact

I've wanted to catch The Angry Hills for the longest time. I've not seen it and I'll hopefully get to it one day soon. I've always liked the lovely Gia Scala who is probably best know for another Greek resistance WWII movie The Guns Of Navarone.

I enjoyed Spectre lots. Do give it another chance when you're in the mood but yes, it's a Bond film, it has a formula

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

Re: The Angry Hills - Sword of Doom - Star trek first Contact


When Captain Picard runs into a sassy machine gun toting black women you know you're not in a quality movie.




It's the next one for me to watch out of my box set. I was distinctly unimpressed with Generations but led to believe First Contact was one of the better ones.

The Spikeopath - Hospital Number 217

Lang and Bogart Get Tapes from Hong Kong

First Time Viewings, Part 1

The Millionaire (1931). Coerced into early retirement, a bored former automobile tycoon decides buy a petrol station and operate it, but keeping the business a secret from his concerned family and competing with a rival petrol station proprietor prove challenging in this amiable comedy starring George Arliss. The film is best known nowadays for James Cagney's brief turn as a fast-talking, pipe-smoking insurance salesman who first makes Arliss consider buying a side business after noting that retirees tend to pass away earlier than those who remain employed to the end. Cagney absolutely nails the role, but the film belongs to Arliss all the way who proves himself a surprisingly sharp and shrewd businessman (he puts up a sign saying "don't ruin your car with cheap gas" as a response to his competitor lowering his prices). The film takes an incredibly long time to warm up though and it is only really in the second half of the movie that the comedy side of the film takes off. The laughs are, however, very good with lots of confused identity business as Arliss has to pretend to be penniless for his gas station partner and also has to pretend to not be working for the benefit of his family. The Millionaire is a tad problematic if viewed as a message film (it advocates blatantly ignoring medical advice), but the writers are smart enough to keep any such themes in the background though and the comedy at the forefront. Noah Beery (brother of Wallace) also turns in a fine performance as the petrol competitor who learns an unexpected lesson or two from the highly experienced Arliss. -- #12 (of 16) for 1931, between Dr. Jekyll and Mr. Hyde and The Maltese Falcon. (first viewing, TCM)

Fury (1936). Curiously titled, there are two lots of "fury" to consider in this film as an angry mob burn down the jail where an innocent stranger is being held on circumstantial evidence, while subsequently the stranger survives and in a fit of anger decides to keep his survival a secret in order that the lynch mob can be prosecuted for first degree murder. It is an interesting premise and Spencer Tracy is superb in the lead role, playing a character who becomes ever-so-slowly less sympathetic with his increasingly bloodthirsty desire for revenge. Walter Abel also provides good support as the district attorney in charge of the case who maintains a sense of humour in court, while Sylvia Sidney is effective as Tracy's girlfriend, shown in striking close-up at several key points. The completely silent scene in which she rushes to see the jail alight is an utterly breathtaking sequence and with Fritz Lang at the helm the film looks as good as one would expect. For all its virtues, Fury is not a subtle film though, and it is hard to say what comes off as more detrimental: the loud thunderstorms that only start up as Tracy argues with his brothers near the end, or Tracy's preachy speech in the final scene. The plot is also a little hard to buy at times (would Tracy really be locked up over such sketchy evidence?), but if nothing else, Fury will definitely make you think twice about carrying salted peanuts in your pocket. The intense scenes of the angry mob in action also offer a stark reminder of just how irrational we, as human beings, can be in the wrong set of circumstances. -- #6 (of 19) for 1936, between Mr. Deeds Goes to Town and Romeo and Juliet. (first viewing, TCM)

Invisible Stripes (1939). Prison stripes is what the title here refers to as a reformed gangster tries to go straight upon being released from prison, only to find that no legitimate business wants to employ an ex-con and nobody wants to work beside one. It is a bit of a simplistic message to drive an entire film, and star George Raft's dialogue only spells things out with lines such as "the rules only work one way", but Raft is nevertheless convincing as an ex-con gradually driven back into a life of crime since nobody out there seems to care whether or not he has really reformed. Solid support also comes from a pre-Maltese Falcon Humphrey Bogart as fellow inmate of Raft's who decides not to even attempt going straight after his stint in the joint. The less said about William Holden, cast as Raft's kid brother, the better though. It is interesting to see the Oscar winner younger than ever in his first major role here, but his character is irksome and seems to only function as an excuse for Raft to later get back into the criminal underworld. Whatever the case, the film never outstays its welcome, running at just over 75 minutes. It also helps that the movie has its heart in the right place with its blunt portrait of the difficulties faced by former criminals trying to turn straight, but it is a theme done much better since. The film's descent into obscurity over the years is certainly no surprise, but Bogart is really that impressive for those thinking of seeking it out. His turn here is even arguably finer than in They Drive by Night, which Bogie and Raft also collaborated on in the following year. -- #23 (of 24) for 1939, between Nancy Drew: Trouble Shooter and Another Thin Man. (first viewing, TCM)

Caged (1950). Imprisoned as an accomplice to armed robbery, a wide-eyed pregnant teen is gradually hardened by the system in this seminal prison movie starring Eleanor Parker. Disowned by her stepfather and with her husband killed in the robbery, Parker plays a character very alone in the world and while her transformation may be predictable, she nails it. There is a great moment when the ostensibly toughened Parker shows her inmates how to successfully perform a swindle and the camera lingers on her afterwards as she stares at her hands and wonders what she has become. Parker's most powerful scene though involves an innocent kitten caught up the madness of the prison bureaucracy. Such corruption and cruelty is in fact at the forefront of the film -- something that does not quite work as well as it sounds. Agnes Moorehead is a talented actress, but the film seems to come to a stand-still whenever her head warden is in focus. Moorehead's futile attempts to clean up the prison system and get rid of sadistic guards smacks of self-righteousness, and while it makes sense to "treat prisoners as human beings" as she professes, Moorehead drones on to the point that the message is as subtle as a sledgehammer. Her final scene with Parker is admittedly great though and allows the film to end on a potent note. The best element of all here though is the sound design; whether it be the typewriter keys drowning out Parker's words at the start of the movie, the intrusive ringing bells or the cries of the mentally ill inmates at night, the movie's audio design always enhances the story. -- #20 (of 34) for 1950, between Panic in the Street and Crisis. (first viewing, TCM)

Crime Wave (1954). Visited by a wounded former cellmate in the middle of the night, a reformed criminal finds himself pestered by both the police and his other ex-con associates after the wounded man dies in his apartment in this downbeat crime drama. Simple as this set-up might sound, it actually pivots around a rather complex dynamic as the protagonist, played by Gene Nelson, finds in himself truly in a bind as neither the cynical detective investigating him, nor his former cellmates, believe that he has actually reformed, and nothing that he can say or do can convince either side that he has really gone straight. Nelson is not particularly effective in the lead role and Phyllis Kirk is given little to do as his trusting wife, but Crime Wave benefits enormously from a talented supporting cast including a young Charles Bronson as one of the ex-cons and an uncredited Timothy Carey as a slightly unhinged associate. The film's best performance comes from Sterling Hayden though as the misanthropic and condescending fast-talking cop who believes that nobody is capable of change - a mantra that is interesting to consider in light of his attempts to quit smoking by chewing on toothpicks instead. Hayden also gets a very memorable final shot and he is the one key reason to see the movie. As far as film noir entries go, this is hardly the most exciting and well-paced offering out there. The movie has, however, a lot of interest as it tries to question whether or not a person is actually capable of changing when everyone else believes that it is an impossibility. Once a crook, always a crook? -- #21 (of 45) for 1954, between The Caine Mutiny and The Sleeping Tiger. (first viewing, TCM)

Get Carter (1971). Suspecting foul play after learning of his brother's death, a ruthless gangster returns home to find those responsible in this iconic British crime drama starring Michael Caine. The film is credited as a 'thriller' on IMDb, but it is a little too leisurely paced for that to ring true. There is very little sense of urgency to Caine's quest to avenge his brother's death - but this is not necessarily a bad thing. If anything, Get Carter is a refreshingly different sort of revenge movie with limited action and a dislikeable main character whose only noticeable human quality is his dedication to his family. There is also an interesting dynamic at hand with Caine acknowledging that he is "the bad one" and that if either of them should be dead by now, it should be him. For all its uniqueness, Get Carter is not, however, the easiest film to watch. There are quite a few dull patches throughout and it is only so interesting to follow a character with relatively few positive qualities. The film additionally throws so many supporting characters into the mix that, upon first viewing at least, it is sometimes hard to keep track of who is who. The scattered memorable moments of the film are, however, very, very memorable. These include an explicit phone sex session with constants cuts to Caine's landlady rocking back and forth in her chair, as well as a scene in which Caine forces two men out of his room at gunpoint and in the nude. The sombre ending is also pitch perfect. Caine and director Mike Hodges would collaborate on the equally uneven and yet still worthwhile Pulp one year later. -- #76 (of 119) for 1971, between Punishment Park and $. (first viewing, DVD)

The Anderson Tapes (1971). Upon release from prison, a criminal mastermind plots a heist on an entire apartment building complex while his conversations (and the conversations of his associates) are secretly recorded by various agencies in this daringly different crime cape starring Sean Connery. Directed by Sidney Lumet and written by Frank Pierson, the film is often as intense as their famous latter collaboration, Dog Day Afternoon, though the film that The Anderson Tapes most feels like a precursor for is Francis Ford Coppola's The Conversation. The use of distorted audio effects very much enhances the monitored conversations subplot and the music score from Quincy Jones even sound like audio effects at times. Despite all this promise, The Anderson Tapes has never quite gained the same following as The Conversation... with good reason. Connery's protagonist is only very loosely fleshed out the exact nature of his relationship to Dyan Cannon's female lead is always a little hazy. Where the film trips up the most though is in balancing the conversations being monitored and the heist itself; the audio recordings seems almost entirely forgotten about in the final third of the movie - though the subplot does admittedly conclude rather potently as it reemerges in the final few minutes. Whatever the case, the heist itself is quite nifty and the victims are everything but passive in the best possible way - not afraid to talk back to the robbers. Margaret Hamilton is especially memorable in what would end up being her last on-screen performance. -- #70 (of 119) for 1971, between The Tragedy of Macbeth and Diamonds are Forever. (first viewing, Blu-ray Disc)

The Man from Hong Kong (1975). Sent to Australia to extradite a drug smuggler, a Hong Kong detective takes matters into his own hands after his prisoner is assassinated en route to court in this fast-paced action film. This was the first full length cinematic feature from Turkey Shoot director Brian Trenchard-Smith and the film is assembled with all the energy of a young director willing to experiment. There are some great tracking shots courtesy of Oscar winner Russell Boyd and there are several effective low camera angles throughout. Some nifty editing also leads to decent comic relief, such as two Aussie cops declaring that the Hong Kong detective has "probably gone to lunch", followed by a cut to a restaurant brawl. On that note, the drawn-out restaurant fight is one of the best choreographed scenes in the film, and the action is generally solid here, but that is about all. The actual story is very bare bones and talented though star Yu Wang may be at martial arts, he lacks leading man charisma. The film also tends to get distracted from the drug smuggling plot too often for its own good. A romance with an Australian paraglider adds nothing to the tale other than an excuse for a brief topless scene. The film also does not give a nicely sinister George Lazenby enough to do as the chief antagonist in the tale. The theme song "Sky High" is excellent though, and fans of martial arts, Boyd and Lazenby will probably find enough of interest here, but this is a definitely a step down from the Bond movies that The Man from Hong Kong most often feels like it is trying to emulate. -- #64 (of 79) for 1975, between The Ultimate Warrior and Breakheart Pass. (first viewing, WMC)

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

Jaysus, busy time of it for Sol.

Ok

I think Fury is wonderful, glad you liked it so much in spite of some little niggles.


Tormentors and the tormented given Lang's gifted touch.

Out of MGM, Fury is directed by Fritz Lang and stars Spencer Tracy and Sylvia Sidney and features Walter Abel, Bruce Cabot, Edward Ellis and Walter Brennan in support. It's adapted by Lang and Bartlett Cormack from the story Mob Rule written by Norman Krasna. Loosely based around the events that surrounded both the Brooke Hart murder in 1933 and the Lindbergh kidnapping/murder case in 1932, the story sees Tracy as Joe Wilson, an innocent man who is jailed and apparently killed in a fire started by a rampaging lynch mob. However, as the lynch mob go on trial for his murder, Joe surfaces but is twisted by thoughts of revenge on those who happily watched him burn.

Widely considered a classic, this first Hollywood outing from director Fritz Lang is a remarkable look at mob violence and one man's limit pushed to its breaking point - and then some. That Lang survived studio interference to craft such a penetrating study of injustice is a minor miracle. Fury is neatly put together as a story, the calm before the storm as Joe & Kath are brought to us as the happy face of Americana. Then it's the middle section as rumours run out of control, the dangers of idle prattling rammed home as things start to escalate out of control-culminating in the savage assault on the jail (a gusto infused action sequence indeed). Then the fall out of mob rule actions - the court case and Joe's malevolent force of vengeance, that in turn comes under scrutiny.

The film was said to have been Lang's favourite American film, which is understandable given it bares all his trademarks. The expressionistic touches, shadow play dalliances and supreme cross-cutting between tormentors and the tormented, for sure this is prime Lang, with no frame wasted either. While it's no stretch of the imagination to think that Lang, having fled Nazi Germany, was pondering what he left behind as he moulded the picture together. Of the cast, Tracy is majestic as our main protagonist, while Sidney is brightly big eyed and hugely effective as the moral centre of Joe's universe.

Controversial at the time, the film has naturally lost some of that controversial power over the decades. But as the film points out with the lynching statistics, there was once a time when inhumanity was able to rear its ugly head in the blink of an eye. Fury serves to remind two-fold that not only is it a potent social commentary, but also that it's a damn fine piece of skilled cinema. 9/10


Caged. I didn't have the issues you raise but great call on the soundwork.


Prisoner 93850

Caged is directed by John Cromwell and adapted by Virginia Kellogg from her own story Women Without men that was co-written with Bernard C. Schoenfeld. It stars Eleanor Parker, Agnes Moorehead, Ellen Corby, Betty Garde and Hope Emerson. Music is by Max Steiner and cinematography by Carl E. Guthrie.

Teenager Marie Allen (Parker) is sent to a women's prison after being found guilty of being an accomplice in a robbery, a robbery that saw her husband killed. She's also pregnant and will have to have the child in the prison. Struggling to come to terms with her incarceration and the tough regime overseen by brutish warden Harper (Emerson), Marie comes to realise that she may have to go through a major character transformation to survive.

Unfairly tagged as camp and sounding on synopsis like what would become a cheese laden staple of women's prison movies, Caged is actually rather powerful film making. The deconstruction and subsequent transformation of a young woman who clearly doesn't belong behind those walls, is bleakly told. The prison is a foreboding place, the lady character's reactions to their surroundings and way of life are emotionally charged.

Frank in its portrayal of prison life back then, but sly with its insinuations of sexual proclivities and criminal doings on the inside, the writing has a crafty edge most befitting the sombre tone that pervades the picture. Parker leads off the list of great performances to bring the drama to life, and with Guthrie's black and white photography superbly emphasising claustrophobia and pungent emotional turmoil, it rounds out as a thoroughly gripping piece of film. With an ending that's appropriately biting as well. 7.5/10


Crime Wave. I thought Kirk was great, but I guess yer right in that more of her would have been great.


Once you do a stretch, you're never clean again! You're never free!

Crime Wave is directed by Andre De Toth and adapted to screenplay by Bernard Gordon, Crane Wilbur and Richard Wormser from the story "Criminal's Mark" written by John and Ward Hawkins. It stars Sterling Hayden, Gene Nelson, Phyllis Kirk, Ted de Corsia, Charles Bronson, Jay Novello and Timothy Carey. Music is by David Buttolph and cinematography by Bert Glennon.

Ex-convict Steve Lacey (Nelson) finds himself reluctantly dragged into illegal activities when old criminal associates come calling and hold his wife Ellen (Kirk) hostage. Driven and unmerciful Detective Lieutenant Sims (Hayden) doesn't believe criminals can reform and goes after Steve with hard-nosed prejudice, putting the Lacey's well being in great jeopardy.

Tough as old hobnail boots, Crime Wave is a noir caper awash with moral ambiguities and reformation quandaries. Set to the backdrop of a sweaty Los Angeles populated by grizzled coppers and psychotic thugs, de Toth marshals a fine cast through a screenplay ripe with interesting characters afforded quirky and beefy dialogue. The director, backed by top cinematographer Glennon, utilise the L.A. locations to the full, giving the plot a gritty realism that was often missing in other 1950s caper movies.

Ace card in the pack is Hayden, given full license by de Toth, he stomps around like a toothpick chewing bear with a sore head, you do not want this Sterling Hayden on your case! Kirk deserves plaudits as well, as the fulcrum femme, she has to contend with not only Hayden's bullying of her husband, but also the mucky attentions of de Corsia's gang, headed by a wonderfully leering Bronson, she shifts through the emotional gears without histrionics and the characterisation is more believable because of it. Truth is is that all the cast work well under their director's guidance, even Carey's hyper attention seeking sits well in the context of the film's noir peccadilloes.

A well stocked noir stew, boosted considerably by fine direction (why didn't de Toth do more noir?) and Hayden being on iconic form. 7.5/10


Get Carter. I'm not even going to dignify your grumbles It is after all one of the greatest British neo-noir films of all time.


When Jack went home!

Get Carter, not just one of the finest exponents of British neo - noir, but one of the greatest British films ever, period. Michael Caine stars as Jack Carter, a tough no nonsense operator in the London underworld who returns to his home town of Newcastle Upon Tyne when his brother turns up dead.

Directed and adapted to screenplay by Mike Hodges from Ted Lewis' novel Jack's Return Home, Get Carter is a bleakly atmospheric masterwork that takes the period setting of the time and blends harsh realism with film noir sensibilities and filters it through an uncut prism of doom.

Jack Carter as created by Caine and Hodges is the quintessential film noir anti-hero. He smokes French cigarettes and reads Raymond Chandler, there is no hiding the respect and homages to classical noir pulsing away as Jack goes on his not so merry way. He's a vengeful angel of death, but sexy as hell with it, he even has humorous pearls of wisdom to spout, delivered with relish by Caine who is at his snake eyed best.

In a strange quirk of the narrative, Jack is home but he's a fish out of water, he's a suited and booted Cockney lad moving amongst the flotsam and jetsam of North Eastern society. It's a crumbling landscape of terraced houses and coal yards, of seedy clubs and bed and breakfast establishments where, as Jack wryly observes, the beds have seen untold action.

Jack Carter is a hard bastard, borderline psychotic once his mind has tuned into the frequency that plays to him the tunes of mistrust, of double-dealings, liars and thieves, of pornographers and gangsters who thrive on gaining wealth while the society around them falls into a depression. It's Fog on the Tyne for sure here. Yet Jack is not devoid of heartfelt emotion, his family ties are strong, and there is a point in the film when Jack sheds a tear, it is then when we all know that all bets are off and there will be no coming back from this particular abyss.

Hodges and cinematographer Wolfgang Suschitzky strip it all back for maximum impact, so much so you can smell the salt of the murky sea, feel your lungs filling up with chimney smoke, the whiff of working class sweat is all around, and all the time Roy Budd's contemporary musical score jingles and jangles over proceedings like a dance of death waiting to reach its operatic conclusion. And with Caine backed up by a roll call of super working class character actors, Get Carter just gets better as each decade of film making passes.

Like its antagonist/protagonist (yes, Jack is both, a deliberate contradiction) it's a film as hard as nails, where home format releases should be delivered through your letterboxes in a metal case. No lover of film noir can have an excuse to have not seen it yet. Funny, sexy, brutal and not without a ticking time bomb of emotional fortitude as well, Get Carter is the "A" Bomb in Grey Street. 10/10


The Spikeopath - Hospital Number 217

Re: Jaysus, busy time of it for Sol.

Call it making up for lost time if you will; I have finally reached school holidays after the busiest term of my career so far. It's been nice to just space out and catch up on both TCM viewings and recently purchased DVDs/Blu-rays that I have had to put on hold until now.

I liked Fury more than I could have ever possibly imagined. I generally consider myself to be a Fritz Lang fan based on his German work, Secret Beyond the Door... and The Woman in the Window, however, I have always found his American output to be uneven at best. For every Man Hunt, there is also a Beyond Reasonable Doubt or Ministry of Fear that does not jive with my film-going sensibilities. The other pleasantly surprising factor for me was Spencer Tracy's performance. I am not a big fan of most of his early career work, but he hit the nail on the head with his turn in Fury. Those silent images of the jail going down in flames will also likely stick with me forever.

Considering that it was nominated for three other Oscars, I find it surprising that Caged's sound design was not also nominated that year. The film reminded me quite a bit of The Snake Pit too (deserved Oscar winner for Best Sound) what with the basic notion of women locked up. I agree with what you mention about the sexual undercurrents with lesbian themed dialogue more blatant that the gun play in Red River! Oh, and I am not sure how exactly you feel about Palmer yourself, but personally speaking, it would have given the Oscar to her over Anne Baxter, Bette Davis and Gloria Swanson that year to answer that tired old question of who should have really won the 1950 Best Actress Academy Award.

I hear what you say about André De Toth and film noir work. After watching Crime Wave, I took a look at what else he was listed as having directed and most of it appears to be TV episodes and second-rate westerns. While Crime Wave is the only De Toth directed film that I have seen, I also have House of Wax and Play Dirty unwatched in my collection, but I haven't heard much positive about either over the years.

With regards to Get Carter, I fully acknowledge that the film has a sizeable fan-base and is considered by many to be a crime classic. In fact, having such a positive reputation probably contributed to me warming so little to the film. It is an impossible movie not to enter with high expectations, and someone really ought to remove the 'Thriller' genre listing on this site as the film is way too deliberately paced and purposely light on action for such a description to make sense. The most underwhelming element of Get Carter for me though was probably how little the film seemed to do with the plot. For the most part, I was fully expecting some sort of twist in which it was revealed that he's brother's death was in fact an accident and therefore Carter's actions were in vain. I wasn't expecting such a relatively straightforward revenge tale at all, and potent as the ending is, I exited the film thinking "was that all?". I wish I could say something more, but Get Carter was easily my biggest disappointment from last week, and one of my most disappointing first time viewings so far this year. Sorry.

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

Re: Jaysus, busy time of it for Sol.

As usual I'm grateful for the exchange with yourself. I know you read the reviews I post and always take time out to write a considered reply, which I sample with a keen eye.

Get Carter, well the twist is that he gets killed in the end, in true noir fashion, and ironically at home, he went home to die.



The Spikeopath - Hospital Number 217

Get Carter

I'm with Spike on this one.....give it a while and then have a revisit.


"He was a poet, a scholar and a mighty warrior."

License to Totally Live Inside Fermat's Room

First Time Viewings, Part 2

The Journey of Natty Gann (1985). Set during the Great Depression, this live action Disney film involves a girl left in the care of her selfish landlady after her widowed father finds work miles away, and the journey she makes to find him upon overhearing the landlady's plans to throw her out. Meredith Salenger is well cast as the resourceful title character, striking a perfect balance between vulnerability and resilience, and the film is darker and more graphic than your average Disney fare. A vicious dogfight is particularly memorable and there are some striking images of Natty's friends being evicted from their homes. Much of the plot revolves around Natty bonding with a wild wolf in an angle that only ever half-works. The wolf not only acts as guide and compass, but is happy to play guard dog and even protect her from child molesters who are overly anxious to give her rides (!). It is never really explained why the wolf is so tame around her, but as far as animal performances go, it is a remarkable turn. Not all of the human performances are as good. Ray Wise is fine as Sol, Natty's loving father, but all the actresses who play matrons are very flat while Lainie Kazan goes way over-the-top as the evil landlady. James Horner's music score also often intrudes on the action. The film is generally well made though with atmospheric cinematography, excellent location scouting and delightfully detailed period costumes that justly earned Albert Wolsky an Oscar nomination. The father/daughter stuff works very well too especially with Sol's internal conflicts over what is in his daughter's best interests. -- #52 (of 119) for 1985, between Prince Jack and Twice in a Lifetime. (first viewing, tv broadcast)

Eye of the Tiger (1986). Titled after a Rocky theme song but owing more to the First Blood and Death Wish franchises, the plot here has a Vietnam War veteran returning to his small country town after a stint in prison, only to be tormented by both the local sheriff and a drug peddling motorcycle gang. Eye of the Tiger lacks the charismatic antagonists of the Death Wish films and the Vietnam War commentary of First Blood, but Gary Busey is great in the lead role and it is a surprisingly well filmed affair. The way the camera simply lingers on Busey's traumatised daughter after a home invasion is an excellent touch and over-the-top as some of the stunts are, they are rivetingly edited. As a message movie, Eye of the Tiger is hit-and-miss. There is an uneasy scene in which Busey pontificates to the uncaring locals as they play bingo and turn a blind eye to the gang's reign of terror. Busey's dialogue in general clicks though; "I grew up here" and "it's not much, but it's home" is enough to justify why he stays and does not simply leave in the first place. Moralists should be cautioned that (unlike the Death Wish films), Eye of the Tiger is extremely pro-vigilante without much thought dedicated to the detriments of taking the law into one's own hands. The film works surprisingly well even with a such a stance though as Busey is always first and foremost motivated out of a desire to protect his daughter rather than get revenge per se. Elements of post-Vietnam War disenchantment do not hurt either, though First Blood still remains the go-to film for such an angle. -- #45 (of 123) for 1986, between Salvador and 37°2 le Matin. (first viewing, DVD)

License to Drive (1988). Too embarrassed to admit that he failed his driving exam, a teenager is coaxed into taking a girl who he fancies and two friends out for a crazy night on the town in this Corey Haim and Corey Feldman comedy. Fresh from The Lost Boys, Haim is well cast as the nervous teen protagonist and it is fun to see Heather Graham younger than ever as Haim's girlfriend to-be. Amusing moments include the harsh driving test that James Avery makes Haim undergo and a drunk driver appropriating Haim's car. A number of jokes do, however, backfire - though the most underwhelming aspect of the film is that it never really reaches its potential. Having a passed-out Graham in the boot of the car could have easily been played for bigger laughs. The supporting characters are also not nearly as wacky and memorable as those in the slightly similar Keanu Reeves comedy The Night Before or even After Hours and Into the Night, to name a couple of other iconic nighttime mischief movies. The film is pretty lightweight on the message side of things too with the idea that Haim will learn more about how to drive in one crazy night than in a hundreds textbooks very obvious from the get-go. If one does not dig too deep into things though, License to Drive is a largely enjoyable affair. Clocking in at under 90 minutes, it is very briskly paced to accurately reflect how overwhelming the seeming non-stop madness is for Haim. The film isn't scared of being zany either; just listen to what the DMV lady tells Haim not to do with them since they "can make your life a living hell"! -- #74 (of 120) for 1988, between Hairspray and Plain Clothes. (first viewing, tv broadcast)

Totally *beep* Up (1993). Opening with a newspaper article on gay teen suicide, the tone of this early career Gregg Araki movie is set from early on as the film presents "15 random celluloid fragments" relating to the hardships of being young and homosexual in a predominantly heterosexual world. Araki's perpetual muse James Duval is solid as the closest the film has to a protagonist and some of the ideas that crop up (AIDS as a form of genocide) are decent, however, the film does not just consist of fragments, but is in fact completely fragmented as it jumps randomly between characters. None of this would be a problem if the characters were well fleshed out, but we barely get to know them outside of what they say in interviews. The supporting performances also vary from poor to adequate and the fact that all concerned mumble their lines is a poor aesthetic choice on Araki's behalf. Totally *beep* Up is often cited as the first film in Araki's 'Teen Apocalypse Trilogy' alongside the vastly superior The Doom Generation and Nowhere. What makes both those films so remarkable is the way Araki weaves in fantastic and pseudo-scientific elements to symbolise the strangeness that the characters feel grappling with their sexuality. Both The Doom Generation and Nowhere are laced with semi-surreal comedic touches too. By comparison, Totally *beep* Up is far more straightforward and serious-minded a tale. Evidently, this approach has appeal to some given the positive reputation that the film has built up over time, but suffice it so say, one's mileage will vary. -- #54 (of 62) for 1993, between Kalifornia and The Pickle. (first viewing, DVD)

Confidence (2003). Coerced into performing an elaborate con, a superstitious professional grifter has to dodge a ruthless government agent and keep his nervous associates calm in this crime thriller from James Foley. As in Glengarry Glen Ross, Foley shows a talent for capturing human beings under pressure, though the film has been more often compared to Ocean's Eleven and The Sting. The characters are nowhere near as well developed here though and while there are some big names in the cast, they tend to go overboard; delightfully eccentric as Dustin Hoffman is, it is hard to buy into him as a much-feared mobster. John Carroll Lynch comes off best as the main 'mark' who transforms from cautious to gradually intrigued to greedy while he is conned. The other big plus of the film is Rachel Weisz's costumes, though we never get to see beneath them. Important as characters are to a film though, the biggest letdown here is the narrative structure. The structure is intriguing for sure with a nod towards Sunset Blvd., but tension breaks every time the film moves out of flashback and into the protagonist being grilled. That said, Edward Burns is solid in the lead and his voice-over narration, full of keen observations on human nature, is great. The fact that the film does not make more of his superstitions seems a missed opportunity (Nicolas Cage crafted a stellar performance from his flawed grifter character in Matchstick Men of the same year), but if one does not set high expectations and implausibility is not an issue, Confidence is an acceptable way to pass the time. -- #68 (of 94) for 2003, between Gothika and The Statement. (first viewing, DVD)

We Don't Live Here Anymore (2004). Content to engage in an extramarital affair to the oblivion of their trusting and neglected spouses, a middle class man and woman ponder about how they might get caught and what the ramifications may, however, the reality of being caught has unexpected consequences for them both in this brooding human drama. The action plays out against a soft and slow yet haunting music score by Michael Convertino, and much of the film's appeal comes the very deliberate pacing (in harmony with the music); the two lovers do not initiate the affair because they need romance and excitement and the danger of being caught never strikes them as anything to worry about until it is too late. Promising as all this might sound, the lovers are actually aloof to the point that it is hard to care about them. Neither of their spouses are particularly likeable either and as such, the movie is a rather distanced viewing experience. The best characters are probably the daughters of both respective couples; both girls seem to know more than what they let on and it feels liked a bit of a missed opportunity that the film does not make more of the impact of their parents' infidelity on them. Never to mind, the film is strongly acted even if it is not all that it could be. Laura Dern received some awards attention for her performance back in the day, but Naomi Watts and Mark Ruffalo as the two lovers are just as good. As for what exactly the title refers to, it is never really clear, but it does hint towards the fact that neither couple will be like they were before after their affair is exposed. -- #49 (of 80) for 2004, between Mickybo & Me and In the Realms of the Unreal. (first viewing, DVD)

Chicken Little (2005). Having earlier embarrassed himself by erroneously claiming that the sky is falling, a young chicken finds himself at odds with what to do upon discovering a planned alien attack in this undeniably imaginative if underwhelming take on the classic story. While the aliens and much of their gadgetry seems lifted from War of the Worlds, there is a lot of interest to this part of the film with cloaking devices, deadly weapons and one surefire intriguing spacecraft. Half the film elapses though before the title character discovers the aliens and the first half is frankly a mess. There are at least three or four loud songs and montages to pad out the running time and Chicken Little's three best friends are hard characters to warm to. One is fat, the other is ugly and the third speaks gibberish, and the film goes out of its way to make jokes at the expense of each character's signature condition (including short stature with Chicken Little himself). The film does have some heart though with a strained relationship between Chicken Little and his father that is tested and tried throughout the course of the film. In fact, had the film concentrated more on the title character's desire to make his father proud and less on crude jokes (particularly regarding weight and ugliness), the first half of the movie might have had considerable value. As it is, Chicken Little at least ends on a high note with a more impressive second half, including some great animated special effects and a deliciously exaggerated film within the film at the very end, but it does feel somewhat like too little too late. -- #66 (of 70) for 2005, between Serenity and Saw II. (first viewing, tv broadcast)

Inside Man (2006). Two overworked New York detectives try to uncover why four bank robbers who have taken hostages appear to be stalling for time in this unusual heist movie directed by Spike Lee. The amount of thought and detail in the robbers' plan is a constant source of fascination and the film derives a lot of mileage from how the detectives always find themselves one step behind. The mystery at the heart of the film (why they are stalling and what they are really after) is pretty decent too, even if all the cutaways to Christopher Plummer as the owner of the bank spell things out a bit. The film tries to do a bit too much that is daringly different for its own good though. The flashforwards as hostages are interviewed afterwards, for instance, are intriguing but also subtract from the intimacy of the action. They prematurely reveal who survives too. The subplot with Jodie Foster is likewise a mixed blessing. She is easily the most interesting and mysterious character in the piece, however, as the film is primarily about the two detectives and the bank robbers interacting, she likewise breaks some of the tension. Even if is not always edge-of-the-seat gripping though, Inside Man is a film with very few (if any) dull moments. Matthew Libatique (the Oscar nominated DOP of Black Swan) does a great job visualising the material together with Lee. From the dark lighting choices, to a vertigo shot on Plummer at his desk, to a tracking shot from Denzel Washington's chest, the film looks great. Terence Blanchard (25th Hour) also provides another solid music score for Lee. -- #25 (of 62) for 2006, between Breaking and Entering and A Good Year. (first viewing, HD-DVD)

La Habitación de Fermat (2007). Invited to a conference in a remote part of Spain, four mathematicians discover that they have attended under false pretences as the walls around them begin to slowly close in unless they can solve a series of riddles. From such a plot description alone, Fermat's Room sounds a lot like Cube meets Agatha Christie's Ten Little Indians and it is certainly equally as atmospheric. The outskirts location and shrinking room are perfectly foreboding and the attention to sound is divine as the smallest noises of the room pressing together are enough to run a chill down the spine. The plot does not stack up well to close scrutiny with the antagonist's plan carried along by the characters doing a lot of things (especially regarding the jacket) that could have never possibly been predicted. It also seems bizarre that the quartet of mathematicians would all happily agree to attend a conference with an unknown host and specific instructions not to bring a mobile phone. If one simply accepts all the improbabilities and runs with it though, it is undeniably thrilling affair. Some surprise character revelations towards the end also add interesting layers of depth; in particular, it is fascinating how one character essentially brought the whole thing upon himself by never being honest in the first place. To say much more may ruin a fresh experience of the film, and this is a movie best entered into with as few expectations as possible. Suffice it to say, this is a much more worthwhile film with better characters than Saw, to which Fermat's Room has been compared. -- #28 (of 67) for 2007, between The Nines and The Golden Compass. (first viewing, online)

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

Pot + Midnight Games are Essential at Home

Revision Viewings

The Honey Pot (1967). Multiple viewings serve The Honey Pot surprisingly well for a film where nothing is as it first seems. The experience certainly is not the same upon revision, knowing what is to come, but all elements at hand - from John Addison's stringy music score to Rex Harrison's half-posh/half-childish performance - are so pitch perfect that it is a treat to simply watch things pan out. The film has a lot to offer on a philosophical level too; as Shakespeare said, "all the world's a stage" and The Honey Pot is really about one man's attempt to direct his life to a planned memorable finish. -- Was #11, now #7 (of 78) for 1967. (third viewing, Blu-ray Disc)

Midnight Cowboy (1969). One of the most accomplished films ever made about hopes and aspirations, Midnight Cowboy's editing design is breathtaking, full of flash-forwards as both protagonists imagine possible futures. The bond that gradually develops between the pair is wonderful too as they find solace in each other in a cruel, brutal world. The haziness of Joe's past (as seen in flashbacks) is still perplexing, but the biggest vice here is how infrequently John Barry's perfectly melancholy score is used; not that Schlesinger can really be blamed with such a great theme song in "Everybody's Talkin'". -- Was #3, now #2 (of 97) for 1969. (third viewing, Blu-ray Disc)

Being There (1979). Hilarious at its best, Being There endures repeat viewings quite well when taken as a mistaken-identity type comedy, but the more thought one places into the film, the nastier it seems. The fact that nobody ever realises that something is up with the (probably) autistic main character never rings true, and having worked with kids diagnosed with ASD, it is hard to view the film's attitude towards autism as anything but mean-spirited as Chance's lack of awareness to the world around him is played for laughs. It comes off as slightly positive that he inspires others, but only 'slightly'. -- Was #6, now #15 (of 99) for 1979. (fourth viewing, Blu-ray Disc)

House of Games (1987). For a film that relies so heavily on twists, turns and audience deception to drive the plot, House of Games stacks up remarkably well to revision. Much of this success comes down to Lindsay Crouse's character/performance as we get as heavily invested in all the schemes as she does. Upon revision though, it is hard to believe that she has managed to successfully practise as a psychiatrist for so long given how mentally unstable she clearly is herself, though her inner fragility and the face of calm that she has to put on does give the film one of its richest dynamics. -- Was #17, now #18 (of 121) for 1987. (second viewing, DVD)

Get Shorty (1995). "Sometimes you do your best work when you have a gun to your head"; John Travolta gives one of his finest performance as a film-loving mobster turned Hollywood producer in this energetic comedy. Not all the humour works, but the parts that do (Dennis Farina being shot for a second time) are great, and the movie works well even when one already knows everything to come. The biggest asset here is the entire supporting cast, with Gene Hackman particularly good, but all the filmmaking and film appreciation angles are also top stuff. It's too bad a remake is already on the tables. -- Was #34, now #32 (of 60) for 1995. (second viewing, Blu-ray Disc)

Bruce Willis triple:

Twelve Monkeys (1995). It is no coincidence that the protagonists in Twelve Monkeys watch Vertigo together as Hitchcock's seminal psychological thriller lays the foundation for this movie about a man (quite literally in this case) trying to change past in vain. What Willis utters while viewing Vertigo -- "The movie never changes. It can't." -- also speaks very much to why we as filmgoers watch a good movie again and again. 24 frames per second, 60 seconds per minute, etc., there's always something to miss and later notice. "Crazy is majority rules" is a pretty decent life mantra too. -- Was, still is, #2 (of 60) for 1995. (fourth viewing, HD-DVD)

The Fifth Element (1997). Infinitely rewatchable, Luc Besson's view of the future is so full of strange and wacky things here that there is always something new to notice upon repeat viewings, whether it be a crazy costume (or hat!), an absurd hairdo or madcap space-saving apartment living. It is surprising how well the film works too given how much is thrown into the mix. On one hand, it is a doomsday thriller with mystical connotations, on the other hand it is an action thriller, and on a third hand it is a comedy with small elephants inside desks and a hyperactive Chris Tucker. Delightful stuff. -- Was #32, now #31 (of 75) for 1997. (fourth viewing, Blu-ray Disc)

RED (2010). Does experience always triumph over youth? It is a question often asked and rarely answered as entertainingly as in this otherwise mindless action film. Much of of RED is borderline ridiculous, whether it be John Malkovich batting away a grenade as if it were a baseball or Bruce Willis casually stepping out of a moving car, but it is delightful to watch the charismatic aged cast act as agile as persons half their age. Knowing where the film is heading does not detract from a second viewing either; only Mary Louise Parker' transformation seems less spontaneous upon revision. -- Was #35, now #31 (of 52) for 2010. (second viewing, Blu-ray Disc)

Spy (2015). Watching The Nines last week was a healthy reminder of how solid an actress Melissa McCarthy was in the years before Bridesmaids saw her typecast forever and while this action comedy still has her acting foul-mouthed and repulsive at times, she's very likeable and human most of the time. It would be a mistake to call this McCarthy's film though as Jason Statham steals every scene he is in as an over-the-top parody of himself. Whatever the case, Spy is an entertaining movie from start to finish with a nary a boring moment. How many 130 minutes comedies can that be said for? -- Was #10, now #9 (of 29) for 2015. (second viewing, Blu-ray Disc)

Birdman (2014). My vote for the strangest film ever to win the Best Picture Oscar, Birdman is anything but a conventional narrative as it delves deeply into the psyche of its protagonist to portray something closer to a nightmare in action. It can (and has been) debated whether the film is more about Keaton succumbing to his past or learning to embrace it, but the point that hits home hardest is what Stone says to him as she shouts "You're not important! Get used to it!" and loud, beating drums, invisible edits, fluid camera movements and so on all work wonders to paint a fragile state of mind. -- Was, still is, #1 (of 38) for 2014. (second viewing, Blu-ray Disc)

First Time Viewings, Part 3

Essential Killing (2010). Taken to an unspecified European country for interrogation after killing three US soldiers, an unnamed terrorist tries to survive after fleeing capture in this unconventional thriller starring Vincent Gallo. It is not an easy to film to watch, and much of what Gallo gets up to (especially with a mother with a baby) may make one feel queasy, but Jerzy Skolimowski's approach in directing the material is refreshingly unique. His protagonist is thoroughly dislikeable at face value: possibly a member of the Taliban and mercilessly killing many along the way. As the title alludes to though, all of his killings are essential, at least in his eyes, and it is hard not to feel for his desperation, heinous as his actions may be. The choice to shoot with minimal dialogue (Gallo never once speaks) and no specific locations works well too as the film gets down to the essence of what it means to survive and live in the heat of the moment, politics aside. Interesting as all this might sound, Essential Killing nevertheless ends on a sadly inconclusive note. The final section of the film (in which second-billed Emmanuelle Seigner finally appears) comes off as extremely implausible too. The benefit of all those flashbacks is likewise debatable since the less we know about Gallo, the more fascinating he is. If flawed, Essential Killing remains daringly different though to the point that it is a hard film not to recommend. The picturesque yet hostile deserted locations, the frequently mobile cinematography and Pawel Mykietyn's eerie score all combine to make a difficult yet hard-to-forget experience. -- #23 (of 53) for 2010, between Salt and Alice in Wonderland. (first viewing, Blu-ray Disc)

Jeff, Who Lives at Home (2011). Acting on the belief that everything happens for a reason, a 30-year-old layabout sets out on a quest to find out who "Kevin" might refer to after a wrong number phone call in this brisk independent American comedy. Jason Segel is well cast as the philosophical title character who waxes poetic over how the seeming randomness in films like M. Night Shyamalan's Signs leads to perfect moments, and while ostensibly pathetic (unemployed, living at home and no girlfriend), Segel moulds a surprisingly warm and likeable character. His quest also has a delightful sense of spontaneity as he plans nothing in advance and simply goes off perceived clues that he finds along the way. Much of the film, however, revolves around him reconnecting with his narcissistic older brother, played by Ed Helms, who is rather grating. There is also an oddly slotted in subplot involving the brothers' mother, but Susan Sarandon is fortunately so solid and down-to-earth in the role that it seldom seems like a distraction when the film cuts away to her. Clocking in at just over 80 minutes, the one thing that can be said about Jeff, Who Lives at Home is that it never outstays its welcome. The extremely upbeat note on which the film concludes seems a little at odds with the project's otherwise unglamorous take on very real people, but it is still a pleasant enough experience and one that leaves open some food for thought. The title character is the only person in the film who is content and optimistic throughout, so perhaps there is something to be said for being a 'slacker' in life? -- #30 (of 51) for 2011, between The Best Exotic Marigold Hotel and The Descendants. (first viewing, Blu-ray Disc)

Mental (2012). Unsure of where to turn after his wife suffers a nervous breakdown, a workaholic politician hires a drifter as a nanny for his five daughters, each of whom believe that they are also insane, in this Australian comedy written and directed by P.J. Hogan of Muriel's Wedding fame. This might sound like a relatively straightforward plot, but the catch is that the drifter is perhaps the most mentally unstable person of them all, and while Toni Collette is occasionally over-the-top in the role, her words of wisdom are surprisingly thoughtful as she shows the daughters that everybody is a little "mental" going on textbook definitions. Kerry Fox as a posh, nosey neighbour comes under her hammer in particular and her pure white house is a magnificent feat of art direction. The film's most outstanding technical aspect though is Don McAlpine's cinematography, with unusual camera angles and mobile shots a la his Oscar nominated work on Moulin Rouge!. Energetic supporting performances abound - from Liev Schreiber and Deborah Mailman in particular - however, the film is never quite as funny as it aims to be. A guitar-playing Sam Clark is frankly a nuisance and the film walks an uneasy fine line between normalising mental illness and trivialising it as one of the daughters definitely has some undiagnosed condition whereas the others just believe that they are "mental" to explain their unpopularity. A key line, "how neurotypical" lingers in the mind though, and while uneven as a comedy, the film does at least offer a welcome positive outlook on being and feeling ever-so-slightly different. -- #26 (of 54) for 2012, between Frankenweenie and Spring Breakers. (first viewing, Blu-ray Disc)

Ich Seh Ich Seh (2014). Retitled Goodnight Mommy for international release, this Austrian mystery thriller focuses on a pair of preteen twin boys who come to the conclusion that an imposter has replaced their mother. As the boys come up with some seemingly compelling evidence (including an old photograph of their mother with a near-lookalike) the film almost works up a decent sense of ambiguity and uncertainty. Unfortunately, this is marred by the fact that the film spells out a twist concerning the two boys very early in, and much of the film feels rather clumsy as all attempts to mask the twist vary from unsubtle to simply pitiful. Fortunately, there is slightly more to the film than just the twist, and as the boys go to some memorable extremes towards the end, the film highlights just how detrimental and dangerous a dysfunctional relationship between parents and children can be. The film also manages to drum up a surprisingly large amount of thrills in spite of the obvious twist. A drawn-out scene involving two overzealous Red Cross workers never once rings true, but the nightmare sequences are very effective (especially a Jacob's Ladder shaking head) as the boys' sense of reality becomes increasingly blurred. The ending resonates in the mind too - and not because of the twist but rather due to a graphic look at repercussions. Sure, Ich Seh Ich Seh would have been more enticing without the twist spelled out, but with disquieting audio effects and stellar performances by the novice young leads, it would be a mistake to call the entire film a waste. -- #34 (of 39) for 2014, between The Tribe and Vampire Academy. (first viewing, WMC)

10 Cloverfield Lane (2016). Knocked unconscious in an automobile accident, a young woman wakes up in an underground bunker and has to determine whether or not her male companions are telling the truth about a nuclear apocalypse above ground in this unsettling thriller starring Mary Elizabeth Winstead. Tension hangs well in the air throughout with John Goodman turning in a fine, deliberately ambiguous performances as the chief captor/rescuer who may or may not have lured another young woman down to the bunker before. The bunker itself is also a magnificent feat of art direction as it often looks more like a comfortable den than a traditional fallout shelter (there is a worthwhile brief documentary on the DVD about the bunker's meticulous construction). While the first hour and a quarter of the film is captivating stuff with eerie sound effects and sporadic power failures, the film runs at least twenty minutes too long with all ambiguity erased near the end. Well filmed as the final few scenes may well be, they lack the energy that the film manages to otherwise drum up from making us question what is really afoot. The concluding scene admittedly has quite a bit to say about the choices we make under stress, but the denouement here is nevertheless underwhelming for a film that, for the most part, preys upon insecurities among strangers and the difficulty of developing trust. Winstead is very good though, and with films like this and Faults, she is proving herself to be quite an actress. The majority of the movie also moves very well for a director making his big screen debut. -- #4 (of 4) for 2016, behind Hail, Caesar!. (first viewing, DVD)

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

Re: Pot + Midnight Games are Essential at Home


One of the most accomplished films ever made about hopes and aspirations, Midnight Cowboy's editing design is breathtaking, full of flash-forwards as both protagonists imagine possible futures. The bond that gradually develops between the pair is wonderful too as they find solace in each other in a cruel, brutal world. The haziness of Joe's past (as seen in flashbacks) is still perplexing, but the biggest vice here is how infrequently John Barry's perfectly melancholy score is used; not that Schlesinger can really be blamed with such a great theme song in "Everybody's Talkin


Really? I mean its an OK movie, but its as phony as a $3 bill. Imagine "Dumb and Dumber" as an X-rated drama and you have "Midnight Cowboy"

Pros: Acting, atmospheric NYC Locations. Cons Script and story. Voight and Hoffman are two street characters in 1969 NYC. One's a naive gay prostitute the other his sickly friend. Both struggle to survive. Both are incredibly stupid. Summary: Two great performances wasted in a pointless, dishonest story.

Re: Midnight Cowboy

I don't mean to alarm you, however, I think you'll find that you're in the vast minority with regards to Midnight Cowboy. The film has a 7.9 rating on this site, over 200 positive user reviews and topped OldAle's 1969 poll if I am not mistaken.

Some of the details you mention about the film are not quite right, which makes me wonder how recently you last saw the film. Voight is not a "gay prostitute" by any stretch of the imagination*, but merely takes on male cliental since no females are interested. There is something interesting in how Hoffman keeps telling him that his get-up is all wrong if he wants to attract ladies, but Voight refuses to take on board the advice, still holding onto childhood ideals of tough western stars. Also, calling Hoffman "sickly" is a little inaccurate. He gets sick towards the end (I wonder if it has anything to do with all that shoe polish as he earlier mentions) but for the most part, he is just cold and poor.

I don't find anything the characters do in the film particularly stupid either. A lot of Voight's actions are driven by naivety and a lack of world-weariness, but he has enough common sense to ask Hoffman whether he is hiding any money in his shoe, and to demand that one client let him see what else is in his chest of drawers. As for Hoffman's actions, he gets quite desperate as he gets sicker and sicker towards the end. Sure, it might have made more sense for him to check into a hospital rather than take a bus ride, but that would go directly against all the big dreamer ideals that his character has built up. Besides, it makes an interesting final scene for film in contrast to The Graduate.

(* yes, I realise a good case could be made for him being a closeted homosexual but this is never explicit)

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

Re: Midnight Cowboy


I don't mean to alarm you, however, I think you'll find that you're in the vast minority with regards to Midnight Cowboy. The film has a 7.9 rating on this site, over 200 positive user reviews and topped OldAle's 1969 poll if I am not mistaken
.

I'm also in the "vast minority" that thinks - contrary to IMDB voters - that the the Shawshank Redemption and Dark Knight aren't 2 of the 4 best film ever made. As for winning the 1969 CFB poll - MC placed so high because a mere 25 anonymous people - most of whom don't do anything except vote in polls - liked it a lot.

And did I ever say my opinion mirrored the conventional wisdom? I don't think so.


Some of the details you mention about the film are not quite right, which makes me wonder how recently you last saw the film. Voight is not a "gay prostitute" by any stretch of the imagination*


Well, he was a prostitute who had Gay sex, so calling him a "Gay prostitute" doesn't seem too far off the mark.


A lot of Voight's actions are driven by naivety and a lack of world-weariness,


Sorry, almost his every action in the movie is dumb. He and the Hoffman are unrealistic characters with their absurd combination of ignorance/stupidity and goodness of heart. Of course, you could see him as just another movie stereotype: The Hooker with a heart of Gold - male version.

Re: Midnight Cowboy

Oh, c'mon. You replied to my comments on the film with the same level of shock and disbelief as if I had said that pig can fly. It only seemed prudent to assume that you may have been hiding under a rock for the past 47 years.

As Midnight Cowboy is clearly a film that you feel passionate about, I hope you'll rewatch it some time in the future. At such a point, I would enjoy discussing movie specifics with you in depth. Your vague comments (without examples) make it hard to generate a proper discussion.

I stick by what I have said about the characters having quite a bit of common sense. Sometimes they act irrationally because they have such high dreams/aspirations, but Voight is smart enough to check that Hoffman is not holding out on money, while Hoffman is smart enough to manage to get Voight to calm down. They also do a really good job getting those girls interested at that party and not panicking when pursued by police officers for a shoeshine.

I will, however, concede that calling Voight a "gay prostitute" may indeed not be far off the mark, but it does strike me as a gross simplification of everything go on inside him - and it surprised me that anyone who had recently seen the film would draw such a conclusion.

Anyway, thanks as always for your enthusiastic comments. Can't agree on everything, I guess...

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

Re: Pot + Midnight Games are Essential at Home

We have chatted about House of Games before, I'm with you, it a twisty treat, a very good Mamet.

Twelve Monkeys - http://www.imdb.com/title/tt0114746/reviews-448

The Fifth Element - http://www.imdb.com/title/tt0119116/reviews-690

Red - http://www.imdb.com/title/tt1245526/reviews-104

I was a little disappointed with Spy, they just built a film around McCarthy and hoped that was enough. Yer right about The Stath though.

The Spikeopath - Hospital Number 217

Re: Willis on film / Spy

Willis is an awesome actor with far more personality than your average action star. I'm not sure if the three films that I rewatched with him last week showcase him at his best (the madly-in-love aspects of his Fifth Element character are a nuisance), but he's always a welcome presence, especially in a movie like RED (or its sequel), in which actions and stunts threaten to overtake all.

Curious commenting about yourself and your partner disagreeing on the ending of Twelve Monkeys. I didn't think that it left that much to be debated myself; basically, I see the characters as stuck in a never-ending cycle that they are forever unable to break, which also has a nice tie-in with Vertigo's 'history repeating itself' theme to mention Gilliam's chief influence on the film again.

I was surprised by how well Spy stacked up to revision given that I watched it with a space of a mere nine months or so between viewings. I wonder if last time I watched the theatrical version (maybe that's all that was available on the DVD) because there were some very graphic and vulgar moments that I didn't recall as I watched the extended version on my Blu-ray Disc. Sorry to hear that you didn't like the film much. It is indeed a little too tailor-made to McCarthy, but in addition to Statham, I would say that a stone-faced Allison Janney is great in the supporting cast.

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

Re: Willis on film / Spy

Gilliam is on record as saying that James Cole is a stalking horse, that's pretty much it as far as I'm concerned



The Spikeopath - Hospital Number 217

Re: A stalking horse

Intrigued by your comment, I did some research and found this great article on the film...

http://www.empireonline.com/movies/empire-essay-twelve-monkeys/review/

...which would confirm that your/Gilliam's interpretation and mine differ. For some reason, I had never come to the conclusion that the female scientist was sent back in time to board the plane next to the terrorist. I thought she looked younger in that scene, which threw me off. I instead had always reached the conclusion that the scene in question was there to pinpoint irony: the scientists had a chance to stop the virus through a coincidental meeting but were doomed to never realise this themselves. Oooh, yeah - I can understand the room for debate now, especially since such an interpretation quashes the notion of the film being a chicken-and-egg type story. Gee, the film already demands a fifth viewing from me!

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

Re: A stalking horse

As I always say, we should be here to learn and share, and I knew you would look into it. And yes! I'm going to be rewatching this brilliant movie in the very near future



The Spikeopath - Hospital Number 217

Re: Being There

Being There: I read the book and saw the film in the late nineties and I loved them both. A few years later, I revisited them both and I didn't care for the storyline.

~~~~~
Jim Hutton (1934-79) & Ellery Queen

Re: Being There

I also loved Being There the first time that I saw it (the film used to be in my all-time top 100). It is a nifty idea - having an unusual man mistaken by all those around him as a genius - but repeat viewings make the scenario seem less and less likely (so many convenient things also need to occur to drive the plot). I also believe that this was the first time I had seen the film since I began teaching, and noticing so many ASD characteristics in Chance, it was a hard film for me to digest; maybe not mean-spirited per se, but certainly in poor taste. Only Johnny Mandel's perfectly soft percussion music score impressed me more this time round.

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

'Essential Killing'

Hi Sol!

My word, you have been busy this past week! I loved skimming through your reviews of titles I've seen. Glad you got to see Jerzy Skolimowski's troubling, minimalist parable. It's a harsh, saddening, and astutely observed film that, I think, succeeds both as a chase thriller and an exploration of the exigencies of survival in a dehumanising climate in which violence begets violence. The wordless performance of Gallo is seared into my consciousness and the snowily austere imagery of the closing scenes possesses a hypnotic, poetic quality that mesmerises with its chilly dignity as we are forced to contemplate the limits of resilience. A film that gripped and moved me and I'm not surprised that the director considers it to be one of his most important films.

That's all, folks!

Re: 'Essential Killing'

Yeah, as mentioned to Spike above, last week was a lot about making up for lost time. This week has already been less busy for me movie-watching wise, and I'll be surprised if I end up seeing half the number of films this week as I did last week. On average though, you seem to squeeze in far more films than I do on a regular basis. I'm always amazed by how much you tend to see!

Essential Killing struck me as an interesting exercise in defying narrative expectations. The film opens on three American GI hero types, who Gallo cowardly shoots dead from the safety of a cave. Then, he's shot at and brought in for questioning by those who wish to prevent terrorism. It is good ten or fifteen minutes into the film before Gallo truly wins audience sympathy. All his initial actions paint him as an antagonist, but then as he has to suffer verbal abuse from Allied forces who fail to acknowledge how them blasting him rendered him deaf, the film gradually begins to become more and more about his experience as an everyman of sorts, just trying to survive. While I liked much of the film, breastfeeding aside, I do have to say that the film sort of lost me at the end. Emmanuelle Seigner's actions didn't strike me as credible in the least. She did do well though with a likewise near-mute performance.

Personally, I prefer The Lightship out of Skolimowski's directing repertoire, but yes, it's a film worth being proud of. Thanks for chiming in.

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

Re: 'Essential Killing'

Thanks for the response. Yes, I think you are on to something in regards to the defying of narrative conventions. It disorientates and challenges perspectives from the outset. We are dropped into the reality of this fighter/man/terrorist and our perceptions as viewers are guided and shaped by the immediate, ever-threatened, and visceral point-of-view of this hunted man.

I'm not sure I'd use the words 'cowardly' or 'safety' when considering the opening scene (or indeed any of the killings). I think the film in essence is a consideration of the human will to survive at any cost in desperate, dehumanising situations. It is ether him or them and, as is seen later on in the film, his animalistic instincts allied to an understandable distrust result in troubling yet, arguably, essential bloodshed.

In a way I'm not surprised that you profess to having become a little disconnected from the later part of the film. Skolimowski's gradual shift from dangerous, violent intensity to meditative symbolism in this unrelenting, unending snowscape is I think the element that reveals the humanity and fragility that exists in us all (as well as mirroring the mental and physical state of Gallo's escapee). It is certainly an enigmatic note to end on but I felt that these closing moments of wandering isolation imparted something of a timelessness to the film and its searching, troubling topics.

Thanks for the very interesting thoughts on the film and, indeed, for leading me to think over things about the film once again. It's one that has certainly stayed with me!

And, the Spanish film you watched (I forget the exact title) sounds quite interesting. I've added it to my watchlist.


That's all, folks!

Re: Pot + Midnight Games are Essential at Home

You've had a BIG week!!!

Midnight Cowboy - I'm with you all the way. The ending left me misty eyed the first time I saw it.

Get Shorty - Love it. Whenever my wife asks me what I want for dinner I say "an omelette with tomatoes and shallots".

Twelve Monkeys - another favourite. As opposed to.....

The Fifth Element -....which I dislike intensely. Can't even remember why....just felt silly.


"He was a poet, a scholar and a mighty warrior."

Re: Fifth Element etc

A big week indeed, though I can already say that this week isn't going to be anywhere near as big. Unfortunately, I can't just use the entire school holidays to watch movies, appealing as that sometimes may sound.

You're right: The Fifth Element is a silly movie, very much so - and therefore it probably needs to be watched in the right frame of mind. The film doesn't really make the impending Armageddon seem all that daunting, nor does it do much to make the central romance anything more than simply cute, however, Besson's take on the distant future is delightfully zany. Every hat, every costume, every hairdo, every living space seems utterly inane; then again, the way most people dress these days would have surely freaked out people even a mere 100 years ago. I wouldn't necessarily call The Fifth Element a great movie, but it is the one Besson film that keeps drawing me back time and time again.

Cool to know you're a Midnight Cowboy fan too. That ending certainly is powerful stuff, but after three viewings, I only just noticed this time round how similar-yet-different it is to fellow Hoffman 60s movie The Graduate. Hauntingly so too since Cowboy is a far more realistic and down-to-earth motion picture.

As for Get Shorty, I had some reservations the first time round, but this time I was completely won over. Really fun ending too with the whole moviemaking theme.

Oh, and as for the other Get movie, yes - I'm sure I will rewatch it eventually. Maybe as a double feature if I ever feel in the mood to check out the Stallone version.

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

Re: Fifth Element etc

Coincidentally ... my first viewing of both Midnight Cowboy and The Graduate was as a double feature, around 1975, so some years after their debuts. The good old days.


"He was a poet, a scholar and a mighty warrior."

Stars Hawk Clock Kings Lady Head Dollaro Shout Possession Wolf Niang

Shooting Stars (1928)

Set in the world of British film studios in the 1920s, a popular married movie star couple (Annette Benson, Brian Aherne) aren't the perfect pair the fan magazines would us believe. She's carrying on an affair with a popular comic actor (Donald Calthrop). Although the director credit is given to A.V. Bramble, it's generally agreed that the true director of the film is Anthony Asquith (Pygmalion). This movie is a real jewel that deserves to be more widely seen. The film begins lightly and with an emphasis on humor but it isn't long before there's a metamorphosis that's so subtle we're not even aware of it and soon, it becomes darker until adultery and murder cloud the landscape. For a film buff, the detailed behind the scenes look at silent film making in 1920s England alone would be enough but the compelling narrative soon takes over and it goes places you don't even dare think about. I could have done without the "irony" of the film's last 10 minutes but the last shot is a real beauty. Aherne, of course, would soon go to America and become a popular leading man of the 1930s and 40s. The film is accompanied by a fine score composed by John Altman.

The Eagle And The Hawk (1933)

In WWI, an American pilot (Fredric March) is assigned to the reconnaissance section in France where it's his job to get photographs behind enemy lines. But as he sees the death of so many of his comrades including the gunners who fly with him, he begins to crack up. Directed by Stuart Walker, this pre-code war film is seemingly and openly anti-war in its sentiments which makes the ironic conclusion a bit of a mixed message. The film manages to avoid the usual war movie cliches and there's a very effective performance by March as the flyer who becomes more cynical about war and bravery until he spirals into an alcoholic depression. For a movie about WWI pilots, there's precious little aerial sequences (unlike Wings or Hell's Angels) but I suppose Walker preferred to concentrate on characterization rather than visuals. There's also a neat performance by a pre-stardom Cary Grant as a gunner with a huge chip on his shoulder and Carole Lombard shows up for about 5 minutes as a society beauty who has a dalliance with March. With Jack Oakie as the unnecessary comic relief and Sir Guy Standing.

The Clock (1945)

During WWII, a young soldier (Robert Walker) gets two days leave which he takes to visit New York City for the first time. He meets a young secretary (Judy Garland) and they spend the next 48 hours together as love blooms. Quite simply, one of the best romance movies ever made! Vincente Minnelli and Garland had just done Meet Me In St. Louis the year before and this was Garland's first film in which she was used strictly as an actress, she doesn't sing a note. Working from a script by Robert Nathan and Joseph Schrank, Minnelli does a wonderful job of keeping the simple love story from becoming cloying or sappy and the Manhattan setting recreated on the MGM back lot is stunning. Say what you will about MGM, their production designers and art directors were untouchable in the studio system. Garland and Walker have such a genuine chemistry and sweetness together that we're pulling for them all the way and the sequence when they lose each other for a several hours in the big city is as nerve wracking as a Hitchcock thriller. George Bassman is responsible for the gorgeous score. With Keenan Wynn, James Gleason, Marshall Thompson, Moyna MacGill and Ruth Brady.

Valley Of The Kings (1954)

In 1900 Egypt, a woman (Eleanor Parker) hoping to complete her deceased father's dream teams up with an archaeologist (Robert Taylor) to discover the tomb of Ra-Hotep. But they aren't the only ones interested in the tomb and danger, intrigue and romance pave the way to the tomb. Filmed on location in Egypt which helps the movie considerably as it's not much more than the usual Indiana Jones type adventure. Directed and co-written by Robert Pirosh, who was more versed as a writer (his script for Battleground won an Oscar) than directing. It's a serviceable adventure film set in an exotic land and short enough to not outstay its welcome. The film benefits by the on screen chemistry of Taylor and Parker in their second film together (they would do one more for a total of 3) but I wish the transfer I saw had been better, it tended to be on the soft side which compromised Robert Surtees' luxurious cinematography. There's a Miklos Rozsa score which is a bonus to any film. With Carlos Thompson, Kurt Kasznar, Victor Jory, Leon Askin and Samia Gamal.

The Lady Takes A Flyer (1958)

A pilot (Jeff Chandler) meets up with a flyer pal (Richard Denning) from WWII. When introduced to his friend's fiancee (Lana Turner), who's also a pilot, he falls in love. But after they're married and have a baby, she wants him to settle down and take a desk job which he refuses to do and that spells trouble. Directed by Jack Arnold (Creature From The Black Lagoon), this romantic drama with some comedic overtones is more heavy handed than it needs to be. While both Turner and Chandler have a strong screen presence which works to the film's benefit, they weren't stars for nothing, ultimately neither have the light touch that the roles require to make it work. But the material is weak under the best of circumstances so in the end I suppose it doesn't matter. Arnold does manage to generate some suspense during the film's finale as Turner has to land a plane blind in heavy fog. With Chuck Connors, Andra Martin and Reta Shaw.

Diamond Head (1962)

In 1959 Hawaii, statehood has just been acquired and a land baron (Charlton Heston) is being pushed to run for congress as a Senator. But the homefront becomes a battlefield when his Chinese mistress (France Nuyen) is carrying his child and he objects to his sister (Yvette Mimieux) marrying a native Hawaiian (James Darren) for race reasons. Based on the novel by Peter Gilman, the screenplay makes considerable changes from the novel. In the book, it's Mimieux's father who is running for congress but the film eliminates him and instead merges him into the character of the brother and there's an implied incestuous connection on his part which is quite daring for 1962. Much of the book's political narrative has been toned down too. What remains is an entertaining soap opera, the kind of stuff Hollywood did well before television appropriated the genre with shows like Dallas and Dynasty. Indeed, Heston's character can be viewed as JR Ewing, Hawaiian style. The ending seems abrupt as if the film makers suddenly realized they had to end it before it went over the 2 hour mark. Director of photography Sam Leavitt (Anatomy Of A Murder) does justice to the islands of Oahu and Kauai (my birthplace) and there's a nice early score by John Williams (billed as Johnny). Directed by Guy Green. With George Chakiris, Aline MacMahon and the underrated Elizabeth Allen (Donovan's Reef).

Per Qualche Dollaro In Piu (aka For A Few Dollars More) (1964)

A bounty hunter (Lee Van Cleef) is tracking down a ruthless cutthroat and fugitive (Gian Maria Volonte) but he discovers he isn't alone. Another bounty hunter (Clint Eastwood) is intent on getting the outlaw first. They join forces with the intention of splitting the bounty money but can they trust each other? The second installment in Sergio Leone's "Man With No Name" trilogy (sometimes referred to as the Dollars trilogy) is handsome and vital but it's quite simply not as memorable as the first and third chapters. While Eastwood may be the star of the movie, the film belongs to Van Cleef and Volonte whose backstory allows them a bigger canvas to play with while Eastwood remains the tight lipped enigmatic stranger. The film's finale seems like a practice run for the more elaborate gunfight in Leone's next The Good, The Bad And The Ugly. That musical wizard Ennio Morricone whips up another of his great scores and Massimo Dallamano provides some excellent wide screen vistas. With Klaus Kinski and Rosemary Dexter.

The Shout (1978)

A mysterious stranger (Alan Bates) shows up after a church service and follows the church organist (John Hurt) home and invites himself to lunch. He claims to have lived in the Australian outback for 18 years and acquired the ability to cause death and destruction merely by shouting. Based on a short story by Robert Graves (I Claudius) and directed by Jerzy Skolimowski (Deep End), this is an odd little film, often categorized as horror but I wouldn't go that far though it definitely has supernatural elements. Frankly, I haven't a clue to what it's "about" but I'm not quite sure the film makers do either though I doubt they were interested in a cohesive straightforward narrative. Whatever it was meant to be, it remains an enigmatic if bewildering piece of movie making. One either goes with it or one doesn't. I did. With Susannah York, Robert Stephens, Jim Broadbent and Tim Curry.

Possession (1981)

Returning home from a "mission" (perhaps some sort of espionage), a man (Sam Neill) finds his wife (Isabelle Adjani) having some sort of violent breakdown and he suspects she has been unfaithful. But it isn't long before he too succumbs to this mysterious "illness". Directed by Andrzej Zulawski, this is a divisive film. There are those who loathe it and find it pretentious and silly while others find it audacious and stimulating and pushing the envelope. On one level, it's a portrait of a marriage unraveling in a chaotic world where nothing makes sense anymore and on another level, it's a horror film (not unlike Cronenberg's The Brood) where evil manifests itself physically from repression. Don't expect realism. The characters seem to exist in a parallel universe, a bleak sparsely populated city and the dialog is stilted which only adds to the other worldly atmosphere. I have rarely seen two actors so committed to their roles as Adjani, who won the Cannes film festival best actress award as well as the Cesar (the French Oscar) for her performance here, and Neill. They go all out and their risk taking pays off. It's truly a one of a kind experience but definitely not for everyone. With Heinz Bennent, Margit Carstensen and Johanna Hofer.

Wolf (1994)

The chief editor (Jack Nicholson) of a major New York publishing house is bitten by a wolf that he hits with his car on his way home from Vermont. He begins to feel ill for awhile but suddenly he notices that his sense of smell and his eyesight are improved and that he feels more vital than he has in years. Directed by Mike Nichols from an original screenplay by Jim Harrison and Wesley Strick, the narrative may sound like a horror movie but that's not what Nichols gives us. He holds back as if giving us a true horror movie is beneath him so he gussies it up with swank and good taste. Jim Harrison, a novelist, hated what Nichols did with his script and vowed never to work in Hollywood again and kept his word until his death early this year. Nichols' "good taste" works against the film in just about every way and watching a paunchy Nicholson growing face hair and growling and snarling as he runs in the woods after a deer is more silly than terrifying. On the other hand, James Spader (in the film's best performance) as Nicholson's backstabbing nemesis doesn't need the wolf make up to make our skin crawl. The cinematography by Giuseppe Rotunno is top notch and Ennio Morricone's score tries to whip up some suspense to no avail. With Michelle Pfeiffer, Christopher Plummer, Kate Nelligan, Richard Jenkins, Eileen Atkins, David Hyde Pierce, Allison Janney and David Schwimmer.

Nie Yin Niang (aka The Assassin) (2015)

Set in 18th century China during the waning years of the Tang dynasty, a young woman (Shu Qi) who has been trained since she was a child to be an assassin is given the assignment by her mentor (Fang Yi Sheu) to kill her cousin (Chang Chen) as a test of her mettle. Directed by the great Hou Hsiao-Hsien, who the won best director award at the Cannes film festival for his work here. My initial reaction was one of disappointment, the film seemed so slight and when it was over I couldn't help thinking "Is that it?". But I've come to the conclusion that its very simplicity is what makes it so unique. On a visual level, the film is simply stunning with Ping Bin Lee's painterly cinematography giving us images worthy of hanging in a museum. While its languid pacing may seem at odds with a martial arts movie, it's clear Hou Hsiao-Hsien wasn't interested in making a pure martial arts action movie and what he provides is more aesthetic and the movie's ultimate message is satisfying. The film is shot in both color and B&W and is mostly in the 1.37 aspect ratio though a few scenes are shot in wide screen.

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

Re: Stars Hawk Clock Kings Lady Head Dollaro Shout Possession Wolf Niang

Diamond Head (1962) - I didn't like this one at all. But I just read Michener's "Hawaii" and I'm about to buy "The Hawaiians" - Heston must have loved shooting in Hawaii! You're very lucky to have been born in Kauai, its my favorite island. I hope your family still has some land there, since Zuckerberg could pay a pretty penny for it.

For A Few Dollars More - Unlike most I live this better than the first movie due to my liking for Lee Van Cleef. His eyes are even narrower than Clint's - if that's possible.

Re: Stars Hawk Clock Kings Lady Head Dollaro Shout Possession Wolf Niang

Alas, my family were part of the have nots, not the haves. Which is why my father decided to move to California when I was 5. Back then, you either had money or you worked in the pineapple or sugar cane fields and that wasn't for him. He became an electrician and moved up to management in the company he worked for and we became typical middle class. I was actually the first member of my family to go to college.

I prefer A Fistful Of Dollars because it has a stronger narrative, no surprise since it's based on Kurosawa's Yojimbo. But Lee Van Cleef and Gian Maria Volonte give For A Few Dollars More some real punch.

The best thing about The Hawaiians are Tina Chen's performance and Henry Mancini's score.

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

Re: Stars Hawk Clock Kings Lady Head Dollaro Shout Possession Wolf Niang

Let's not forget Klaus Kinski's scenes in For a Few Dollars More.

"I generally smoke just after I eat. Why don't you come back in ten minutes?"

https://www.youtube.com/watch?v=7RMBa7RiiC8

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

Re: Stars Hawk Clock Kings Lady Head Dollaro Shout Possession Wolf Niang

Speaking of Heston, he's on the Carson rerun tonight on Antenna TV. He should be on shortly.

Also appearing is Dorothy Stratten, the Playmate of the Year who would be the subject of Star 80. This show is about four months before her death.



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

Re: Stars Hawk Clock Kings Lady Head Dollaro Shout Possession Wolf Niang

My favorite Heston TV guest appearance on a chat show is on The Dame Edna Experience. Heston is not allowed on the couch like her other guest Gina Lollobrigida but relegated to the kitchen to make some fondue. She coos over Gina but barks orders at Heston who gets so nervous he spills the fondue when he attempts to serve it!

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