M

M (1931) - Review

Wow. Taken by itself, this seems like a rather good, old black-and-white film. Nothing especially spectacular. That is until one realizes the context. It's obviously film noir, but until this film, the genre didn't exist. It's a psychological crime thriller, which did not exist as a genre. It is a talkie, which had not been done in Germany until this film. Apparently director Fritz Lang single-handedly, and in one swell foop, created not one but two classic film genres - film noir and psychological crime drama (think Silence of the Lambs).

A young Peter Lorre is a sight to behold as the monstrous bad guy.

The review I linked to above is a modern review of the DVD. The New York Times review from 1933 is an interesting perspective. The review lauds the film but is horrified that such talent and effort was "wasted" on the subject matter.

(out of 5)

Silver City

Silver City (2004) - Review

More filmmaking goodness from the godlike John Sayles. Chris Cooper (one of my favorite actors ever, especially his roles in Sayles' works like Lone Star) is perfect as a quasi-Bush candidate for governor of Colorado. Other notables are Kris Kristofferson (another Lone Star alumnus), Daryl Hannah, Richard Dreyfuss, and Thora Birch (Janey from American Beauty all growed up).

If you've liked any of Sayles' films, see this. If you like intelligent, funny drama, see this. If you're reading these comments, see this.

(out of 5)

The Hunger

The Hunger (1983) - Review
Vampires. Woohoo. Girl-on-girl sexy sexy. Woohoo. I'm sorry, but the attempts at stylized editing and cinematography were just way too distracting for me. The film would have been a complete waste of time if it wasn't for the three stars - Catherine Deneuve, David Bowie, and Susan Sarandon. Maybe it was cool 20 years ago but now it just looks silly.

(out of 5)

The Robe

The Robe (1953) - Review

Interesting perspective on events surrounding the well-known story of the execution of Jesus of Nazareth. Richard Burton is Marcellus, the Roman tribune who actually pounded the nails. Jean Simmons is his l-l-l-lovuh.

I was thinking how Jean Simmons reminds me a bit of Audrey Hepburn. For all the hoo-hah over Audrey, I think I'll take Jean Simmons when it comes to screen presence. Breakfast at Tiffany's was quite something and Ms. Hepburn's performance was a huge part of that. But if I compare all the Jean Simmons performances I've seen with all the Audrey Hepburn performances, Ms. Simmons comes off as more... human, I guess. More genuine. Maybe I feel that way because I've loved Jean Simmons since seeing her in Spartacus when I was just a lad. I've always thought she was every bit the screen goddess Audrey Hepburn was but never seemed to get the same amount of adulation.

(out of 5)

La Petite Lili

La Petite Lili (2003) - Review
Nothing spectacular here. Just a warm, human story with talented acting by beautiful people. There's the always corruscating Ludivine Sagnier, Robinson Stévenin (the Gallic Johnny Depp), Julie Depardieu (daughter of that other Depardieu), old-timer Michel Piccoli, and Bernard Giraudeau.

There is some cleverness in the recursive filmmaking toward the end - not just a film within a film, but a film within a film that is about the film it's within.

French films are just cool. If you like them, this is a good one.

(out of 5)

12 Angry Men

12 Angry Men (1957) - Review
Shame on me that this is the first time I've seen this film. I've intended to watch it for years and even bought it out of the discount DVD bin over a year ago. Better late than never.

The film was done beautifully (Sidney Lumet's first) but watching it made me want to direct it as a play. The story is almost totally driven by dialogue and emotion. What little physical activity there is wouldn't be constrained at all by the stage. Maybe someday.

I've never thought of Henry Fonda as a force of nature, but he certainly was one in this film. He's not so much the star of the film, but it is his calm, persistent insistence that the facts not be taken at face value that provides the impetus for most of the story.

There were some old-timers in this that had me thinking "They don't make 'em like they used to". E.G Marshall, Robert Webber, Jack Warden, Jack Klugman, Lee J. Cobb, and Ed Begley - what a crew! I had never seen Webber as a young man in anything; he was gorgeous - and I like women.

(out of 5)

David and Bathsheba

David and Bathsheba (1951) - Review
Gregory Peck - always fun to watch. Everything else - whatever. Hope I don't offend anyone but who the hell did Susan Hayward sleep with to get into movies?

We get two cable channels that show movies without commercials - Fox Movie Channel and Turner Classic Movies. Caught this flick on FMC. I wish I had those 2 hours back.

(out of 5) only because of Gregory Peck.

Men with Guns

Men With Guns (1997) - Review
In case you missed it earlier, I love John Sayles. No matter how high my expectations when I sit down to watch one of his films, I am never disappointed. Most often my expectations are exceeded. That has happened again.

"On the surface" (Sayles' films are usually about much more than what's on the surface) the story is about the horrors of civil war in "an unnamed Latin American country", especially the terrific effect of "collateral damage" on innocent civilians. But the heart of the film is what happens to the characters - notably revelation and redemption - as they move through the story. The framework for the story is dark and, well - evil. But one can't help fall in love with the characters, as much for their weaknesses as their strengths; they are above all human.

I've noticed that my taste in the arts tends to a certain shade of darkness that, at the same time, celebrates the human condition. In the past I've used as example the early albums of Jackson Browne (specifically For Everyman and Late for the Sky), the novels of Dickens and John Irving, the films of Hal Hartley. As of right now I'm officially adding to the list the films of John Sayles.
(out of 5)

Breathless (À bout de souffle)

Breathless (À bout de souffle) (1960) - Review
I must be a philistine. This is allegedly one of the finest films ever. It is credited with kicking off the French New Wave in cinema. It was Jean-Luc Godard's first success. After seeing and thoroughly enjoying Godard's Contempt, I was prepared to be blown away by this landmark film. I must've missed something.

There is some interesting camera work. The soundtrack is engaging. But where was the story? I was actually nodding off during parts in the middle. I suppose I can see how some of Godard's techniques were groundbreaking; I was not entertained at all. The plot was thin with very little character development. I'm OK with not really having anyone to like and I don't need a happy ending, but come on. The review I linked to above sums up my experience with this film: A film student's wetdream but not much entertainment value.

Either that or I'm just a philistine.
(out of 5)

Casa de los Babys

Casa de los Babys - Review
In a previous post I accused a filmmaker of not being the greatest. The writer/director/editor of this film, John Sayles, is one of the greatest filmmakers. His ability to consistently write stories and tell them using film is unmatched among contemporary filmmakers. I haven't seen anything by him that I didn't like and two of his works (Limbo and Lone Star) are among my very most favorite films.

The linked-to review wasn't the best I could find but it was the best I could find that didn't give away a nice little plot twist and it does give a decently accurate account of the film.

Sayles has no problem pointing the camera at his characters and just letting them... be. There is one sequence that, for me, is the emotional heart of the film. Two women are in a hotel room. They both talk at length about heart wrenching stuff. Long takes with few cuts. Fleshing out of characters and a revelation. Neither of them can understand what the other is saying. One speaks only Spanish, the other only English; it matters not at all.

There is a musical interlude with the babies of the eponymous casa. Sayles fearlessly lets his camera linger on the little ones, who he obviously can't be directing. It works.

The ending shot can't help but remind one of Sayles' earlier Limbo.

As usual in a Sayles work, the actors are all excellent, but nobody particularly stands out. His films are rarely, if ever, driven by the performances; they are foremost the work of their creator.

I have a few more of Sayles' films to see before I finish the canon. (Men with Guns is on tap tomorrow or Friday.) My expecations are high; I doubt I'll be disappointed.
(out of 5)

Moulin Rouge!

Moulin Rouge! (2001) - Review
Actually watched this last night. It was probably the 8th time I've seen this. Yes, it's that good. I admit it's hard for me to be completely objective about Moulin Rouge! because it has a significant sentimental weight in my life. But I shall try.

If you haven't seen the movie, the review I linked to is pretty accurate. Ebert's only problem with it seems to be that it left him feeling claustrophobic. I've never noticed that feeling. The story is of True Love that ends tragically. Set in late 19th-century Paris, the movie uses the music of the late 20th century to tell the story and express the feelings of the characters. And that's what sets the film apart for me - the clever and gorgeous use of music.

Allow me to enumerate the points in Moulin Rouge! at which I, as if on cue, start swallowing hard and claiming the room is getting dusty:

• Christian (Ewan McGregor) busts out with "The hills are alive with the sound of muuuuuuuuusic". This is the first hint that the lingua franca of this film is going to be song.
  
• Satine (Nicole Kidman) singing the harmony on "Heroes" during the scene where they dance on the elephant.
  
• Satine soaring into the chorus of "One Day I'll Fly Away".
  
• Last and certainly not least, the final operatic version of "Come What May". Is it dusty in here? *sniff*
  

Other moments of note are the "Like a Virgin" sequence with Zidler (Jim Broadbent) and The Duke (Richard Roxburgh) (hilarious) and the "Roxanne" tango sequence (gripping, dark).

I don't think Baz Luhrmann is the greatest filmmaker... not by a long shot. But he somehow created one of the finest works of art in any medium from any time. IMHO.

(out of 5)

Seven Samurai

Seven Samurai (1954) - Review
This was one of those very rare 3-hour-plus films that I didn't want to end. It's a most excellent film yet I find myself hardpressed to say why. The acting, except for two of the main characters (who were outstanding - more later), is fine but nothing special. The print wasn't the highest quality. Because it's subtitled (Japanese-language), the emotional impact is dampened somewhat. The story, while engaging and heartwarming, is nothing new.

But... I LOVED the film.

The story, by the film's director Akira Kurosawa, is a familiar one: Group of relatively helpless people enlist the aid of professionals to protect them from evil. In this case, it's a 16th century Japanese village of farmers who are about to be attacked by bandits after their rice. They convince a group of ronin samurai to help them in return for... well, nothing. The samurai leader is played by Takashi Shimura, who was sublime in the role. For some reason he reminded me of Lee Marvin, only wiser and less scary. Another member of the samurai group is played by the John Wayne of Japan, Toshiro Mifune. He's a member of the group, but one can't be sure that he is an actual samurai. He's kinda unhinged and provides most of the comic moments in the film. Based on his performance here, his legendary status seems well-deserved. What a face!

I'm not enough of a film expert to know how he did it, but Kurosawa made me love his characters. The samurai are old-fashioned heroes; any flaws they may have are mostly just alluded to. You can pick them out of any crowd by the way they carry themselves. There was one scene that captured their professionalism. One of them - a guy who reminded me of David Carradine in the TV show Kung Fu - goes alone to capture a gun from the bandits, returns with the gun, hands it to the leader and says "Killed two", sits down and falls asleep. Dude!

Highly recommended for just about anybody who has 3.5 hours to sit and watch a flick. It'll be worth it.


(out of 5)

Young Adam

Young Adam (2003) - Review
Whatever. Scottish flick with Ewan McGregor, Tilda Swinton, Emily Mortimer, and some other people with lovely brogues. Joe (Ewan) can't keep it in his pants. Situations arise. There are flashbacks. Will Ewan do the right thing?

There was some nice camera work. The score by David Byrne was nice. Significant amounts of nakedness and fucking. And here's your big chance to see Ewan's uncut, flaccid penis if you're into that kind of thing.

I have no idea who the eponymous Adam is.

(out of 5)

Le Petit Soldat

Because we recently got back on the Netflix bandwagon, I've been watching an inordinate number of films lately. My intent is to post each film I watch along with some comments. I don't expect I'll do much actual reviewing, but I'll try to include links to information about the film and any actual reviews I think are relevant. (I expect this guy will get some airtime.) We'll see what happens.

Without further ado:



Le Petit Soldat (The Little Soldier) (1963) - Review
I'm not a connoisseur of French films, but I gotta say... some of these cats knew what they were doing. This is the second film I've seen by Jean-Luc Godard - the other being Le Mépris (Contempt) - and I'm beginning to understand why he is revered. The story is about some intrigue between French and Arab shadowy types during France's mess in Algeria. Interesting from a historical perspective, but it's the beauty of what's on the screen that is breathtaking. The lighting and cinematography are sublime. Godard also gets dazzling performances from his protaganist, Michael Subor, and The Girl, Anna Karina.

Speaking of Anna Karina, this is the first time I've seen her in anything. Her beauty on the screen is unsurpassed (I know, that's debatable) and her acting? What can I say? Her facial expressions in the apartment photography scenes tell as much of the story as any dialogue in the movie.

(out of 5)

Edmund Fitzgerald

It was 30 years ago today the huge ore ship went down in a gale on Lake Superior. I was just a teen-aged kid living in Oregon then and to me The Wreck of the Edmund Fitzgerald was just a top 40 song on the radio. For some reason, at the time, I thought it was about something that happened years before.

Thinking about the families of the 29 men who went down with the ship. There were no survivors.

Here are a couple of links to good information about "the good ship and true".

• The sinking of the SS Edmund Fitzgerald - November 10, 1975
  
• S.S. Edmund Fitzgerald Online
  

And here's an award-winning audio documentary produced 10 years ago on the 20th anniversary of the disaster.

• Wisconsin Public Radio - "We're Holding Our Own".
  

Frist

Not sure how long this will last, but I'm going to try posting my musings about films I see, books I read, and whatever else I feel like writing about.