by Sam Juliano
Here in the Big Apple the Tribeca Film Festival gets underway this coming week, and through the efforts of one of the event’s chairpersons, Pete Torres, Wonders in the Dark has been granted press passes for about a dozen of the highlight features. The connection with Mr. Torres was made by none other than our dear friend and impassioned commentator Dennis Polifroni via his position as dispatcher for Scotty’s Cab Company. I have tentative plans in place to see about ten films, starting on Thursday evening, April 23, and continuing through to April 30. Hence this seven-day span will be quite a hectic time. A full report will be posted in early May, though I am certain a few individual reviews will be appearing beforehand. Broadway Bob and Lucille will be alternately appearing as my free guest for the trips into Manhattan. Many thanks to Pete Torres and to Dennis for making this happen.
The film noir countdown has now reached the Top Ten, and congratulations are in order for the good-natured and humble proprietor of this major venture, Maurizio Roca of Brooklyn. Roca has penned some of his finest reviews over the past week for a bevy of the genre’s masterpieces, including Nightmare Alley, The Night of the Hunter, The Third Man and Sweet Smell of Success. The film noir countdown has attracted remarkable site traffic, and tons of comments, nearly all uniformly knowledgeble and enthusiastic. It’s been an amazing ride for all of us, and an accomplishment of epic proportions from this passionate adherent of this revered cinematic form.
Tony d’Ambra has published his poetry in either paperback on download formats. Readers can make the desired choice by checking out the purchase form linked near the top of the site’s sidebar. Major congratulations are in order for Tony on this exciting new venture, which frankly has been long overdue. Now many others can be ravished by his extraordinary work, gathered all in one place! Elsewhere, Dee Dee has been stepping up her efforts on the interview front, and has been posting under tabs over the site headers. WitD readers are urged to check the alternating tabs to see what the latest interview is all about.
Jamie Uhler’s seminal “Getting Over the Beatles” series moved forward this past week with the coverage of some alternate bands and some steallar track. Jim Clark’s fabulous Fargo review was a big hit, and Bob Clark just posted a great essay involving animine classic Ghost in the Shell.
Our friend Murderous Ink in Japan is still in our thoughts and prayers. This remarkable man has demonstrated amazing resilience through his nation’s ordeal, and is back on the blogging front. I can express just how much his reports at WitD have been appreciated.
After a slow start, the past week heated up with a sneak preview “work in progress” of Bennett Miller’s MONEYBALL conducted at my local multiplex in Edgewater. The film, starring Brad Pitt and Jonah Hill, took a look Oakland A’s general manager Billy Beane, the eccentric who led the low-paid team to a record-breaking 20 game winning streak in 2002. I was made to swear that I wouldn’t discuss the film, so I won’t say anything more than to say I throught it was a fine entertainment, even at this unfished stage. Rumor has it that we are looking at December or so for a final release. A tentative rating for the film is offered up below, though that is subject to change on final release. Many thanks to Ryan Adams for making this sneak preview possible!
Moneyball **** (Thursday night) Edgewater sneak preview
The Conspirator **** 1/2 (Friday) Edgewater multiplex
Le Quattro Volte **** 1/2 (Sunday) Quad Cinemas
The Princess of Montpensier **** 1/2 (Sunday) IFC Film Center
Robert Redford’s astute and riveting Civil War era picture about Abraham Lincoln conspirator Mary Surratt, presents a story many may know little of. Surratt owned a boardinghouse visited by some of those implicated in the assassination of the beloved 16th president, and by some unfortunate testimony was sentenced to hang. As her lawyer, the actor James McAvoy does a superlative job, especially in the film’s defining court-room sequences, and Robin Wright is outstanding as Surratt, a woman whose guilt remains uncertain to this very day. Redford makes outstanding use of the very small budget, and the film wisely stays aways from the bombastic, instead stressing the intimate. THE CONSPIRATOR is a major surprise. I am hoping to have a full review up on Tuesday morning, as Monday is reserved for the blogger’s appreciation post on the Olson Brothers. But even that plan is tentative.
Michaelangelo’s Italian gem LE QUATTRO VOLTE is a wordless cinematic treatise on the spirit, the soul and the cycle of life. Indellible images, held for long spans tell more than dialogue, and textures and nuances in a small town in Calabria bring a man’s life into focus in four stages. So much feeling in conveyed in arresting visuals, and there’s a spiritual underpinning that suggests reincarnation. It’s a stunning film in every sense.
Tavernier’s THE PRINCESS OF MONTPESIER is a dark and rousing costumer, set in the 1500’s, and it’s intrigues are plentiful, paralleling the narrative form of the western. A few lulls, but for the most part and enthralling and captivating French pastry.
In the stage play HIGH, (taken in on Saturday evening at the Booth Theatre on 45th Street) Katheleen Turner portrays a nun with a sewer mouth who studies a young man with drug problems. The play is still in previews, but this performance has me convinced it will probably be a big hit. Turner is one reason, but the young actor Even Jonigkeit in his debut is another. I have mixed feelings about the production, and intend to pen a full review.
The blogosphere links follow:
At Movie Classics Judy Geater has authored a terrific essay on the 1933 John Barrymore feature Topaze: http://movieclassics.wordpress.com/2011/04/17/topaze-harry-dabbadie-darrast-1933/
John Greco has a terrific review of Sydney Lumet’s Night Falls on Manhattan at Twenty Four Frames: http://twentyfourframes.wordpress.com/2011/04/15/night-falls-on-manhattan-1997-sidney-lumet/
Jaime Grijalba offers up a stupendous review of Ken Russell’s The Devils at Exodus 8:2: http://exodus8-2.blogspot.com/2011/04/sams-flick-picks-15-devils-1971.html
Tony d’Ambra has published his poetry in a paperback volume, available here for a reasonable price. This great work is also available to download. WitD is proud of this publishing event and congratulations to Tony: https://www.lulu.com/commerce/index.php?fBuyContent=10534204
Our inspiring friend in Tokyo, Murderous Ink, is back on the blogging scene, and he’s engaged in a very fascinating topic about film degradation, presented at Vermillion and One Nights in two parts: http://vermillionandonenights.blogspot.com/2011/04/issue-of-degradation-part-2.html
Family is at the center of another remarkable post by Terrill Welch at the Creativepotager’s blog: http://creativepotager.wordpress.com/2011/04/15/three-in-one-post/
At Scribbles and Ramblings Sachin has penned a terrific piece on “A Double Dose of Gaspar Noe”: http://likhna.blogspot.com/2011/04/double-dose-of-gaspar-noe.html
At Speaking from the Heart Laurie Buchanan is on her way back from a witer’s institute seminar in Madison, Wisconsin: http://holessence.wordpress.com/2011/04/14/write-on-part-2/
Jason Marshall has named Scarlet O’Hara as the ‘Best Actress’ of 1939 for her celebrated performance in Gone With the Wind: http://moviesovermatter.com/2011/04/10/vivien-leigh-as-scarlett-ohara-in-gone-with-the-wind-best-actress-of-1939/
Ed Howard’s miraculous run at Only the Cinema continues with a an exceptional essay on Catherine Breillat’s Fat Girl: http://seul-le-cinema.blogspot.com/2011/04/fat-girl.html
One of the most truly ecclectic of all bloggers, Samuel Wilson has penned a fantastic review of Fellini’s The Clowns at Mondo 70: http://mondo70.blogspot.com/2011/04/fellinis-clowns-1970.html
At Living in Cinema Craig Kennedy’s latest “Headline” post is leading the way: http://livingincinema.com/2011/04/16/headlines-now-with-all-the-brown-ones-removed/
At SmiledYawnedNodded Longman Oz has an excellent capsule reviewing leading on Ken Laoch’s Route Irish: http://smiledyawnednodded.com/2011/03/28/routeirish/
Filmmaker/blogger Jeffrey Goodman has a marvelous post up, featuring post-punk numbers used in Oliver Assayas’s masterful Carlos at The Last Lullaby: http://cahierspositif.blogspot.com/2011/04/new-wave-of-crime-film-sound.html
At Ferdy-on-Films Marilyn Ferdinand lovingly recalls the Sundays of her younger years in an affecting piece down Memory Lane: http://www.ferdyonfilms.com/?p=9507
Meanwhile at This Island Rod, Ferdinand colleague Roderick Heath has a stupendous essay up on Paranormal Activity: http://thisislandrod.blogspot.com/2011/04/paranormal-activity-2007.html
Jeff Stroud is leading up with a fascinating post titled “Create to Remind Yourself” at The Reluctant Blogger: http://jeffstroud.wordpress.com/2011/04/13/create-to-remind-yourself/
At Living in Cinema Craig Kennedy remembers director Sydney Lumet: http://livingincinema.com/2011/04/09/sidney-lumet-director-1924-2011/
“A Friendly Farm Gate Chat” is topping at Terrill Welch’s wonderous Creativepotager’s blog. I strongly suggest joing Terrill on her modest shopping spree: http://creativepotager.wordpress.com/2011/04/02/a-friendly-farm-gate-chat/
At The Seventh Art Srikanth Srinivasan has penned an absolutely incredible essay on The Circus Tent (1978): http://theseventhart.info/2011/04/10/flashback-84/
David Schleicher has penned an excellent review of Joe Wright’s Hanna at The Schleicher Spin: http://theschleicherspin.com/2011/04/10/shooting-circles-around-the-heart-of-joe-wrights-hanna/
At Darkness Into Light Dee Dee is on a celebratory holding pattern with some posts chronicling the past events, prizes, contests and noir happenings over the past weeks. No one has worked harder for so many just causes, and no one’s passion has been more palpable: http://noirishcity.blogspot.com/
Stephen-Russell-Gebbett’s latest exceptional post at Checking on my Sausages is on Auschwicz: http://checkingonmysausages.blogspot.com/2011/04/auschwitz-uwe-boll.html
Hokahey has penned an engaging piece on the horror film Insidious, which he feels “works” in large measure at Little Worlds: http://hokahey-littleworlds.blogspot.com/2011/04/tiptoe-through-further-with-insidious-i.html
At Cinemascope, Shubhajit is leading with a terrific capsule on the omnibus “New York Stories”: http://cliched-monologues.blogspot.com/2011/04/new-york-stories-1989.html
At the home of the venerated Coffee Messiah Michael Harford leads up with a most telling post on “Coffee and Art”: http://coffeemessiah.blogspot.com/2011/03/gettin-to-be-that-time-of-year-again.html
Kaleem Hasan’s Satyamshot remains the place to be for Indian culture, film, sports and politics:
J.D. has a great review up at Radiator Heaven on 1995’s The Passion of Darkly Noon: http://rheaven.blogspot.com/2011/04/passion-of-darkly-noon.html
Troy Olson is headlining at Elusive as Robert Denby with a terrific review on Bresson’s Les Dames Du Bois De Boulogne: http://troyolson.blogspot.com/2011/04/robert-bresson-les-dames-du-bois-de.html
Jon Lanthier has a new round-up of recent viewings, all-written with his incomparable insights and style at The Aspiring Sellout: http://aspiringsellout.com/2011/03/viewing-log-2/
Andrew Wyatt has a terrific review up on the new Jane Eyre at Gateway Cinephiles: http://gatewaycinephiles.com/2011/04/15/jane-eyre/
Kevin Olson’s exceptional review of the noir Force of Evil is still heading up at Hugo Stiglitz Makes Movies: http://kolson-kevinsblog.blogspot.com/2011/02/for-love-of-film-noir-blogathon-force.html
R.D. Finch has penned a terrific review of The King of Marvin Gardens at The Movie Projector: http://themovieprojector.blogspot.com/2011/04/king-of-marvin-gardens-1972.html
Pat Perry is heading up at the reinstated Doodad Kind of Town with some Oscar pieces: http://doodadkindoftown.blogspot.com/2011/02/oscar-winners-2011-and-great.html
T.S. at Screen Savour has some marvelous capsule reviews up for “Media Month” on some of cinema’s greatest features: http://www.screensavour.net/2011/03/media-month-february-2011.html
Matthew Lucas has penned a superlative essay on the Italian gem Le Quattro Volte at From the Front Row: http://fromthefrontrow.blogspot.com/2011/04/review-le-quattro-volte.html
At The Cooler Jason Bellamy has penned an intriguing essay on Robert Redford’s The Conspirator: http://coolercinema.blogspot.com/2011/04/pawn-in-game-conspirator.html
At Cinema Styles Greg Ferrara has an engaging display on titles called “Aelita Queen of Mars”: http://cinemastyles.blogspot.com/2011/04/intertitles-aelita-queen-of-mars.html
Jake Cole has a penned a superlative piece on the vampire movie remake Let Me In at Not Just Movies: http://armchairc.blogspot.com/
Daniel Getahun has posted the ‘Top Ten documentaries’ of 2010 at Getafilm. Looks like an essential for cineastes: http://getafilm.blogspot.com/2011/03/best-documentaries-of-2010.html
Drew McIntosh is heading up with five caps from an underrated Divivier gem from 1943 at The Blew Vial: http://thebluevial.blogspot.com/2011/03/flesh-and-fantasy-julien-duvivier-1943.html
Anu, at The Confidential Report has posted a spectacular Top 10 list that again shows why and how he’s an ultimate cineaste: –2010/http://theconfidentialreport.wordpress.com/2011/01/12/top-ten-of\
At Velvety Blackness, Jean has written a brilliant essay on the cult classic Underground: http://velvetyblackness.blogspot.com/2011/03/underground.html
At Visions of Non-Fiction, Dave Van Poppel has penned an intriguing essay on Clio Bernard’s The Arbor, that should be seen by all cineastes: http://visionsofnonfiction.blogspot.com/2011/03/arbor.html
Jeopardy Girl talks a bit about Chomet’s The Illusionist and some other things at her “FAQ” pst at The Continuing Story of Jeopardy Girl: http://jeopardygirl.wordpress.com/2011/03/13/some-faq/
And the esteemed Film Doctor has also taken on the multiplex feature with singular insights at his place: http://filmdr.blogspot.com/2011/03/baby-doll-and-steampunk-zombie-nazis-9.h
Italian gem “Le Quattro Volte” by Michelangelo Frammartino
What have you all done this past week?
Wow, didn’t know they were making a MONEYBALL movie and with Brad Pitt of all people. I liked the book, so I’m sure I’ll give this one a look when it is released.
As for things watched this week, I saw my next Bresson, DIARY OF A COUNTRY PRIEST (an awe inspiring film — I need to watch it again before I write about it), watched the EADWEARD MUYBRIDGE doc that Ed Howard wrote about a few weeks ago (a very interesting documentary on an eccentric and unique figure), finished THIS IS ENGLAND ’86 (the final episode makes it a must see — a riveting ending to the series).
Troy, to say I am eager to read your reation to DIARY OF A COUNTRY PRIEST is an understatement. It’s one of the most sublime and wrenching films in all of cinema. As to Bresson’s greatest masterpiece I always go back and forth with this one and BALTHASAR. I’d like to hear more on EADWEARD MUYBRIDGE and THIS IS ENGLAND ’86, though I do recall you reviewing the latter. Or maybe you just reported on it here at WitD.
MONEYBALL worked in large measure, and Pitt did quite well with his eccentric role. I can definitely see you appreciating this one.
Many thanks my friend as always!
To me The Conspirator is a huge relief after Redford’s Lions for Lambs, which always came off to me as a well-meaning but rather pathetic critique of the Iraq War… what’s interesting about The Conspirator is that… it sees corruption even in something as necessary as the Civil War, and doesn’t shy away from it. Granted, the movie is a little disattached at times — I would have liked more insight into the minds of the assassins, and not just a bunch of behind-the-scenes legal drama. Still, it’s an emotionally-involving film for the most part, it makes some unexpectedly relevant Guantanamo parallels, and James McAvoy proves that he can actually give a decent performance for once. It was great seeing Robin Wright again, too.
Redford appears to excel the most with films based on true events — that may be why this and Quiz Show are my favorites of his. He’s not quite as daring with period pieces, which is is why A River Runs Through It and The Legend of Bagger Vance both turned me off. I even thought this new film was superior to Ordinary People in terms of its directing and screenwriting (if not its acting).
Adam, many thanks for the great comment. I know well your love and expertise for American history and especially value your insights. Well, I understand what you are saying about wanting to know more into the minds of the assassins, but history itself is rather murky on that count. They don’t fare much better with Mary Surratt, who appears to have fallen victim to Union harshness toward anyone connected in any way with Lincoln’s assassination. By presenting the exterior side of these people (how they are perceived by the public) we received a fascinating perspective. Strong acting and a servicable script elevated the story, and Redford made the most out of a small budget. I agree with all you say about the acting, though McAvoy has been doing great work all along, especially in ATONEMENT. I have no use for BAGGER VANCE, but A RIVER RUNS THROUGH IT is a poetic work. I also like ORDINARY PEOPLE, but I know a number do not.
I am hoping you decide to review THE CONSPIRATOR. I’ll be checking over at ICEBOX MOVIES. Many thanks my friend!
Wow, I saw ‘The Conspirator’ too (after a much deliberation), and thought it very poor. The acting and script are incredibly one note, and the cinematography incredibly claustrophobic to the point of laughable cliche.
Just a bad film, that morally slips into PC banality. Redford is more concerned with his liberal cred that he never challenges anything, and inadvertently makes a pro-Confederacy film. It’s bad.
So ironic was that the previous day I’d seen the little exposed (though hopefully it grows) Palestinian film GAZA ON AIR (aka GAZA-STROPHE) also a political film that doesn’t hide what it’s about by diving 150 years in the past. It’s real life documenting of being in an area that’s being bombed (in this case Gaza by Israel Jan. 2009). Death is captured, I haven’t seen a more powerful film in my lifetime.
http://www.gaza-strophe.com/lejourdapres/eng/lefilm.htm
Ah Jamie, you are not one to mince words, and you tell it the way you see it. I am not sure what other ‘note’ you are looking for, but it’s true the subject and national temper in THE CONSPIRATOR was of a singular focus. I thought Redford brought out the national thirst for revenge out very well, both in the mob mentality and in the almost fascistic court room scenes. The film was largely shot indoors, out of convinience, but also because of a limited budget. Even Union supporters seriously doubt Surratt’s guilt, and I think Redford straddled the middle throughout. I though the film economically replicated the horror of the assassination and in it’s unforgiving aftermath, and how Surratt (like Tom Robinson in TO KILL A MOCKINGBIRD) was guilty even before going to trial. It doesn’t take a pro-Conferate stance to show obvious injustice. What ultimately elevated the film were McAvoy, Wright, Kline and others.
But again, I have no problem with your position, and well realize the film split the critics down the middle. It seems Robert Ebert was a major supporter for whatever that’s worth.
That’s an amazing statement you make about GAZA ON AIR!!! It seems it’s essental then! Wow.
Many thank Jamie for the great and up-front response!
I’m looking for any ‘note’ that is something other then what the character is. Surratt is the southern martyr and remains that throughout. The idealistic lawyer who plays that role throughout, the menacing republican boogie man bad guy. Now all the principal actors are good, and they do their best to elevate the material it’s just rather cliche. If this was an action film or a Horror one these tropes would be glaring, but since it’s dressed up as some sort of serious period drama damn if it doesn’t fool ya.
These aren’t characters they’re caricatures. The directing follows suit, every scene looks the same: dimly lit, foreboding, misty shadows. In a jail cell it can work but in a courtroom in the middle of the day? c’mon. I won’t even get into the politics of the thing, which are essentially pro-confederacy or easy PC liberal status quo stepping. As a liberal this whitewashes quite an interesting story with much backdrop. If you want the history I’d read any of the great books Edward Steers has written, the foremost expert on the subject.
All that being said I just adore Robin Wright. Tres spice.
I think the actual history has determined the perceptions on display here, and the lack of any concrete damning evidence against Surratt will always have her at the martyr. They may well be caricatures, but they’re not exaggerated ones. As I say it’s a film that has severely split the critics and no doubt audiences, but it’s one that resonated with me. I respect your position completely Jamie.
Oh right, she’s definitely a martyr if the events and trial unfolded as Redford’s show them to have. She shouldn’t have died, but Redord’s direction just glosses over so much. He’s so generic. The film isn’t a drama it’s a lecture. It’ll be great for 8th grade history classes for teachers wanting a few days off, but serious art? No way.
Again, perhaps I feel this way because it was sandwiched between two viewings of GAZA ON AIR, an actual deeply felt political film.
“Oh right, she’s definitely a martyr if the events and trial unfolded as Redford’s show them to have.”
No, not as Redford showed them as, but as HISTORY presented the events.
THIS WAS RE-ENACTMENT, NOT REINVENTION!!!
And who says it’s “art.” It’s just a very good contemporary film on a historical subject. No more, no less.
I gave it the high rating because it worked quite well in what it set out to do, and it entertained in a way that I appreciated myself.
While this is re-anactment, c’mon Sam. I find a complete whitewashing of events to be rather poor, especially when it’s on the topic of public state executions. I mean look at our discussion here, I’m coming off as if I think Surrat was guilty (I don’t) when all I’m asking for is a more measured scope of the events and the period. I just don’t think Redford’s rewriting and dumbing down of history does us any good. I think the clearest way to compare it is to a rather similar film (in theme) von trotta’s ‘The Lost Honour of Katharina Blum’, a film about a wrongfully accused women within a blood thirsty state. Von Trotta reaches nuance and deep felt emotion in her art there.
About it not being art, I suppose we agree here. I can’t discuss what does or doesn’t entertain you, so I’ll give you that. But again, I must stress, the subject matter asks for real contemplative art, not an enjoyable yarn to pass an afternoon.
_ _ _
Oh and Justin Long’s mustache? WFT? lol. As they said on ‘At the Movies’, it looks like a throwaway prop from an SNL skit.
I’ll admit Justin Long’s moustache was a hoot Jamie! Ha!
Thank you very much for the kind mention, Sam. I’m interested to hear the differing views on ‘The Conspirator’ – must say I agree with Adam that I was extremely underwhelmed by ‘Lions for Lambs’, but liked ‘Quiz Show’ best of the Redford-directed films I’ve seen. Anyway I will look forward to seeing this, and to reading your review.
This week I was lucky enough to see the beautiful restored print of ‘The African Queen’ at the Ipswich Film Theatre – I know you saw this recently, Sam, and found it a revelation, as I did. I liked the film a lot anyway, but this felt as if it was like seeing it on release – both Bogart and Hepburn are superb, and it is great to see a classic like this on the big screen.
Unfortunately, the late Wellman movie I watched this week, ‘Blood Alley’ (1955), suffers by comparison – and it has quite a few points of comparison with ‘The African Queen’, with John Wayne and Lauren Bacall taking a stolen boat on a daring journey, though far from being alone they are taking a whole village of people with them to Hong Kong to escape Red China. I’d have to say the whole thing comes across as Cold War paranoia, with a lot of racial stereotyping, and I also found it annoying that Wayne spends nearly the whole film talking to an imaginary girlfriend. All the same, there are one or two great scenes in there, including one of Wellman’s finest rainstorms.
I’ve also just watched a rare John Barrymore silent epic which someone has put up at YT, ‘The Sea Beast’ from 1926 – a very strange version of ‘Moby Dick’, where Ahab is more bothered about his lost love (Dolores Costello) than he is about the whale! The main problem about this, though, is the dreadful quality of the print, which makes it hard to tell just how good the film was originally – even so, there are some astonishing scenes from Barrymore, in the parts where you can actually see his face. I know he played Ahab again in a later version and hope to see that one too.
Judy, I was lucky enough to see The Sea Beast on a big screen with a Mighty Wurlitzer playing at a long-ago Barrymore festival, and it certainly was a strange experience. If I recall right, Ahab’s wicked brother is really to blame for the captain losing his leg to the whale, but our hero conquers brother and whale to reclaim his love. Can we call this the least faithful literary adaptation ever?
Wow, Samuel, it must have been quite something to see this on the big screen with a Wurlitzer playing – hopefully in a better print than the one I saw in somewhat less stellar circumstances.
You do indeed recall right, Ahab’s wicked half-brother Derek puts him in the whale’s path in order to steal his true love, Esther. What’s more, I’ve now discovered that the even more obscure 1930 remake with Barrymore, which this time had the title ‘Moby Dick’, also had this same plot of the love triangle and the evil brother, happy ending and all!
Come to think of it, I suppose the ‘Jekyll and Hyde’ with Barrymore, remade with Fredric March, is nearly as far from the book, again with a whole love story which isn’t in Stevenson – though at least it keeps the book’s ending.
That was indeed quite the way to see THE SEA BEAST Samuel at that Barrymore Festival! Terrific stuff.
Judy,
If you haven’t yet, you must see Barrymore in “Twentieth Century.” A full-scale riot. I think O’Toole must have modelled his Swan character in “My Favorite Year” on Barrymore’s performance.
Hilarious. And Lombard, too! You just can’t beat it.
Thanks, Mark – I have seen this once, some time ago, but will definitely be getting hold of the DVD to watch it again. I had been hoping there might be a British release, but it’s reasonably priced on import anyway.
PS, I haven’t seen My Favorite Year but am now intrigued to see O’Toole and compare with Barrymore!
Judy, I also concur on LIONS FOR LAMBS, though I seem to like ORDINARY PEOPLE and A RIVER RUNS THROUGH IT more than a number of people here. QUIZ SHOW was very well done for sure and actually copped the New York Critics Circle Award for Best Picture that year. As you can see there are some naysayers on THE CONSPIRATOR (Jamie is saying it’s a ‘poor’ film) and the critical ranks are split down the middle) so I can’t surmise how you’ll react. The film started slowly but gather solid momentum, and in the end was quite affecting.
You viewed a great print there at the Ipswich Theatre, and yes, I’m with you all the way on the favorable re-assessment. I don’t think the film looked better since 1951, and the pairing there was surely one of the greatest in history. You really didn’t see a film there Judy, rather you ‘witnessed’ an ‘event.’ As far as BLOOD ALLEY, that is indeed quite a narrative coincidence there Judy, though I’m sorry to hear the film isn’t particular notewortht despite Wellmann’s typical command with weather. The Cold War pananois seems cliched, and that is quite bizarre what you say about Wayne and the imaginary girlfriend.
And THE SEA BEAST is not one I’ve yet seen, though I see others here are chiming in. Perhaps Warner Archives will release it.
Thanks for everything Judy–the great comment here–the comments everyone on the site, the attention to respond to others who respond to you–the whole ball of wax.
I can’t thanks you enough my excellent friend!
Thanks very much for the kind words, as ever, Sam! There is a DVD of ‘The Sea Beast’ from an obscure company, but I gather the print is the same as the very faded one I’ve seen online, so it would be good to see it properly restored. With all the interest in ‘Moby Dick’, and in Barrymore, I’m quite surprised that both this and the talkie version are so obscure. Warner seems to be putting out a few of his movies, so fingers crossed these see the light of day eventually.
Sam,
Thanks again for the shout out. Wow! A pretty exciting week here at WitD. First let me congratulate Tony on the publication of his book of poetry, a personal artistic milestone for him I am sure. The pieces that he previously shared have always been fascinating.
The press passes to the Tribeca FF is a tremendous coup for WiTD and I look forward to your reports. My own week has been obviously less exciting. I am continuing on my weekly trip to a nearby rookery photographing some Egrets and Wood storks who this week hatched some young ones. I posted on Facebook a few photos and plan to do a series showing the continued growth of the newborns until they take off. I am also in the middle of reading the new book, “Conversations with Scorsese,” by Richard Schickel. The book is fascinating and is probably the closest we’ll ever get to an autobiography from this great American director.
MR and the Japanese people still remain in my thoughts as the horror there continues to unfold.
On the movie watching front I saw the following…
The Conspirator (****1/2) Looks like we agree on this one Sam. Great political and historical tale based on the story of accused Lincoln assassin co-conspirator Mary Surratt, the first woman to be executed by the U.S. Government. Wonderful period detail and fine performances from James McAvoy and Robin Wright. You can certainly draw analogies between what went on back then and what is going on today.
The Doctor Takes a Wife (***) Entertaining enough comedy with Loretta Young as a 1940’s style feminist author whose marriage of convenience to a sexist doctor (Ray Milland) leads to plenty of conflict. The kind of film that a few years later TV would kill off.
Libeled Lady (****) All-star MGM cast with Harlow, Powell, Loy and Tracy in this classic screwball comedy. Loads of laughs and great performances. This may have been Jean Harlow’s best role. The film’s biggest flaw is the false out of nowhere ending which attempts to resolve Powell’s bigamy situation. Still this film is a classic, loads of laughs. A review coming up at 24 frames.
M*A*S*H (****1/2) Altman’s breakthrough film was a brilliant mix of radical filmmaking and shocking humor, for its time. I love it’s complete and healthy disregard for military prodigal.
Night Falls on Manhattan (***1/2) – This film just happened to be showing on HBO right after Lumet passed away which is what initiated my viewing. The film covers familiar ground for Lumet, police corruption, political intrigue and ethical dilemmas. Good, but not among his best. The film does boast a fine supporting performance from James Gandolfini.
Cimarron (***) There are some nicely done sequences but overall this tale, only partially directed by Anthony Mann, of the Oklahoma land rush and the American frontier spirit is overly excessive in its storyline. For much of its epic story, too many scenes are way too sketchy attempting to cover too many years in 2 1/2 hours. The land rush sequence early in the film is exquisitely realized in widescreen and is probably the high point of the film. German actress Maria Schell was unfortunately not strong enough to carry what is essentially the leading role.
Golden Boy (***) Disappointing revisit to a film I had fond memories of for many years. Overall, the film is dated pretty badly, most disappointing is Lee J. Cobb’s stereotypical, Mr. Bacciagalupe (from the Abbott and Costello Show) performance of Italian father, Papa Bonaparte. Stanwyck is always a pleasure and the young Holden has a strong intensity.
John: I agree that Tony deserves applause for what he has done. I will be great to have all his great poems in one place. He’s really had quite a run with those.
Great work with the rookery! I hope you might decide to update WATCHING SHADOWS ON THE WALL with some photos! And the Schickel book on Scorsese is a great read! It’s telling too what you say about it being as “close a biography on Scorsese” as we”ll ever have. I’m certainly gearing up for Tribeca, and expect a hectic week.
I am absolutely thrilled to hear you though as much of THE CONSPIRATOR as I did. I liked it so much in fact that I agreed to see it again tomorrow night with a cousin and a few friends. You size it up marvelously there! I know we also both share a love of American history and particularly the time of the Civil War and all it’s intrigues.
You are dead-on with LIBELED LADY including that disclaimer about the end. Ditto with Loretta Young, and GOLDEN BOY, which I would go a bit lower on. But I liked Maria Schell, and thought CIMARRON a bit better (maybe 3 and a half) even though it was almittedly overlong and sketchy. I did see it at the Mann Festival, so manbe I was seduced by the beautiful widescreen print. In this sense Robert Surtees’ cinematography was striking and Franz Waxman’s score evocative.
I have teh same rating for MASH and think only a bit less on that Lumet (which you wrote a great review for at TWENTY FOUR FRAMES).
Another towering comment at this thread John! Many thanks my friend!
Glad to see that you obtained the passes. Pete is a real great guy and I was glad to put you in contact and connection with him. I’ve had the great fortune of getting to know Pete over the years and it’s always been a pleasure to be in his company.
From what I understand, Pete is one of the major guys working under DeNiro with the setup and forming of each years Tribeca Film Festival and when I told him that WITD was looking to review the fest and the films offered he jumped to the rescue in helping out with obtaining press passes for the fest.
I’m elated that WITD can now boast a tight relationship with this prestigious yearly event…
Have a great time SAMMY, we’re all looking forward to your coverage of the TRIBECA FILM FEST!!!!!!
Thanks for that information on Pete, and most importantly for the success in securing the ticket batch, Dennis! This is definitely a major coup, and I will be running my tail off during the seven-day duration of the festival. I can’t thank you enough my friend!
HEY, WAY TO GO FOR TONY!!!!!!!!
CONGRATULATIONS ON THE PUBLICATION!!!!!
I’m sure you’ll see a big success with this.
Dennis
Yep Dennis, this is a big achievement for Tony!!!
Sam, thanks so much for the excellent mention.
I’m excited to hear that you will be headed to Tribeca and look forward to hearing about your experiences at the festival. I also was very pleased to hear about Bennett Miller’s new film. I thought he did a very strong job with CAPOTE, and it’s always interesting in the current American cinema landscape to see how young directors fare after a successful first narrative.
This week, I saw Truffaut’s SMALL CHANGE, CLASSE TOUS RISQUES, WHEN A WOMAN ASCENDS THE STAIRS, THE VIRGIN SPRING, the 5 1/2 hour version of CARLOS, THE MUSIC ROOM, and THE SHORT FILMS OF DAVID LYNCH. I was very glad to see them all, but probably the thing that affected me the most, believe it or not, was Lynch’s short film THE COWBOY AND THE FRENCHMAN. I just found it to be vintage Lynch, in the best of ways, with its flights of fancy and often gut busting sense of humor. Of course, some of the other movies that I saw had some tremendous things to recommend, as well.
Thanks, Sam, for all that you do. Here’s to another awesome week!
Dennis was pivotal in securing the Tribeca tickets, Jeffrey, and I will certainly do my best to make the most of this opportunity. Of the films I have been given tickets to, I really only have heard of THE TRIP (a shortened version will be presented here) and the documentary THE SWELL SEASON, which chronicles the prsent day activities of the two stars of the Irish film ONCE (Glen Hansard and Marketa Irglova) But TIMEOUT NEW YORK is saying that GONE, ROADIE and SHAKESPEARE HIGH are must-sees. I hold tickets to those. As far as the Bennett Miller film, I know he wasn’t the original director intended. (Spielberg was) But I completely agree with you on CAPOTE, and respect his talent. Again, it was only the first audience the film was shown in front of, but I found much to be impressed with. I hope the finished product enhances it further. Being a baseball fan helps too! Ha!
Whew, you saw some real great movies there Jeffrey, and many of them! My personal favorites of those are Ray’s THE MUSIC ROOM, Naruse’s WHEN A WOMAN ASCENDS THE STAIRS, Bergman’s THE VIRGIN SPRING, and Assayas’s CARLOS. Those are masterworks for sure in my book. The Truffaut is a lovely film too. Ah, you got me wth that Lynch….I haven’t yet seen it! But I don’t doubt your passionate regard for it, and am impressed that it made such an impression.
As always my great friend, thanks for the great submission at this thread!
This is one of those rare weeks where we both have seen the same film Sam. I loved The Conspirator too. The acting was excellent, and much was done with the small budget by way of period detail and convincing re-enactment. I think Redford was faithful to the historical perception of Mary Surratt, who in all likelihood was railroaded to her doom, because of national revulsion at Lincoln’s murder. The film was as fine a study of the mob mentality as any ever filmed.
Congratulations on the Tribeca windfall. I’ll be looking forward to your reports. And nice work by Tony d’Ambra and Maurizio Roca in their respective ventures.
^^^The film was as fine a study of the mob mentality as any ever filmed.^^^
I’m thinking ‘To Kill A Mockingbird’ Frank.
David, I am thinking TO KILL A MOCKINGBIRD as well, as I have just said as much in another comment on this thread. I am thrilled to hear you saw (and liked this one) Frank and I completely concur on the mob mentality. Heck, we discussed it on the phone in fact! Ha! I’ll certainly be reporting on Tribeca.
Agreed too on Tony and Maurizio!
Thanks again my friend!
Sam what an impressive post to read first thing this Monday morning. Wow! Some week you had and looks like an even more exciting one your are going to have.
Between family visits, gardening, preparing for my next solo art show at the end of June and the longer days movie watching has taken a back seat for now. But there are a few here that will be added to my list for future viewing.
Sam, thanks for a double mention. Wishing you and everyone an amazing week.
Aye Terrill, this will be two hectic weeks in a row, and I am going into this Tribeca Festival with close to no knowledge or expectations of the films being screened. I know you have been exceedingly busy yourself, and your focus must indeed be on the solo art show. Your last post at the CREATIVPOTAGER blog documented one of those precious family excusrsions! I wish you and David a great week as wll, and I’ll be looking for the sure painting progress my friend!
Thanks a ton for the mention, Sam. Looks like you had another satisfying viewing weekend. I’m very much looking forward to both Le Quattro Volte and The Princess of Montpensier, there is an article on each in the most recent Film Comment, and they sound really great.
I had family come in over the weekend, so my free time was limited, but I still managed to squeeze in a couple of flicks. I watched Michael Powell’s The Phantom Light (1935), a rather minor but enjoyable mystery/thriller/chiller he made for Gainsborough that is set almost entirely in a lighthouse. It had plenty of wit and atmosphere, but didn’t do much interesting with its unique setting unfortunately.
I also watched Pedro Costa’s latest, Ne Change Rien, which I thought was absolutely haunting and mesmerizing, and I haven’t been able to get it out of my mind. It would have likely placed quite high on last year’s Best of list for me had I managed to see it in time.
Geez, Drew, I’ll definitely have to investigate that issue of FILM COMMENT, as I simply can’t get enough discussion and/or analysis of these two films. Likewise, I’d love to know what you think of these two. While they are as different as night and day, I can easily speculate that the Italian film may impress you the most. We shall see.
Too bad that P & P didn’t make good on what was a tailor-made setting. I have not seen that films I’ve afraid, though I’ve seen most of the P & P’s.
I know you are a fan of Costa (I am too) but that reaction to his newest film would immediately put it on anyone’s best-of-the-year list. I’ll keep watch.
many thanks as always my excellent friend!
Sam, The Phantom Light isn’t a P&P, it’s just one of the many low budget quota quickie thrillers Powell churned out in the decade prior to him hooking up with Pressburger. All things considered it’s fairly impressive, but doesn’t come close to holding a candle to even the lesser P&P ventures.
Drew, I am surely losing it. While I was responding to you last night, I was yawning and falling asleep in front of the PC. I’m actually shocked i was even half-way lucid. But I hear ya, and yes that’s a complety different animal. Thanks for that clarification my friend!
Hi Sam – Thanks for promoting my departure from film on the blog. We’ve had some film festivals in town, and I’ve been watching screeners all week, three of which I wrote up, several that I haven’t. The most exciting thing for me was moderating the Q&A of Meshakai Wolf’s Flames of God at CIMMfest on Saturday night. The documentary, about a Macedonia gypsy poet and writer, was superb, and the audience was very engaged (and large!) with it and Meshakai. We rewatched “Fragments,” TCM’s production on films for which only fragments remain, with some friends who were out of town and didn’t see it. I appreciated all over again the importance of film preservation. I enjoyed a different Conspirator, the one with Robert Taylor and Elizabeth Taylor, on TCM. But mainly it was a work, work, work kind of week.
Marilyn: I can understand you giving film a bit of a break as far as FERDY-ON-FILMS postings, but your loving tribute to the past was really just what the doctor ordered. It was a great post too, because it induced the reader to recall what was so precious in those long ago days, and how television played such a central role in our lives.
Wow! You were the moderator of that Q & A for Meshakai Wolf’s FLAMES OF GOD?
Fantastic. It’s one thing to attend a Q & A after a film, it’s quite another to do the moderating YOURSELF! Ha! The documentary sounds fascinating. I hope it will be available here at some point in the near future. But good show there! I wish Lucille and I were in the audience.
How infuriating is it to ponder the cases where only fragments remains. And you are right stress the importance of film preservation during those times. Hope everyone appreciated it as much as you did. Ah, I know that Liz Taylor CONSPIRATOR at that! What a coincidence that you watched it this weekend!
You now need to take a break! Whew!
Many thanks my great friend!
Sam, the whole exchange re: The Conspirator has been informative so far. As a history buff I was interested in it but some early reviews have called it dull. On the evidence of clips it seems like the film looks authentic but doesn’t necessarily sound authentic, and I wonder whether the clips provided for reviewers show the thing in its best light. The dialogue I’ve seen and heard tends to the platitudinous, but I await your full review for a clearer idea of the whole thing.
Besides Clowns I got to see the clandestine Iranian movie Nobody Knows About Persian Cats, which has an innately compelling subject yet still seemed dramatically underwhelming somehow. At practically the opposite side of the wild world of cinema I also tried Jess Franco’s Venus in Furs, which probably isn’t eligible for least faithful literary adaptation ever (see above) because it doesn’t even pretend to engage with Sacher-Masoch. It’s actually one of Franco’s more rigorously stylish films, and the effort compensates for an ultimately unfathomable narrative. I liked it, at least.
Samuel: THE CONSPIRATOR has split the critics right down the middle, but not really along the lines of the good critics disliking it and the mediocre critics liking it. Heck, even the extremely-difficult-to-please Stephanie Zacharek liked the film. There’s a split in every demographic so to speak. It certainly helps to be a history major and a Civil War buff, though some would say that makes them ever-watchful and unwilling to compromise. As a coutroom drama the film is riveting, as a period piece, it’s slow to start but gains momentum; as a story about injustice and bigotry it is telling and topical; as a probing look at the cryptic Mrs. Surratt it gives no more insight than the history books. At the end of the day, it’s a very well acted piece (especially by McAvoy and Wright) that does this historical mystery some justice, and as an entertainment it’s quality stuff.
I simply can’t take Franco, but I’ll admit I have seen that stylish film you mention here. I did see that Iranian film (NOBODY KNOWS ABOUT PERSIAN CATS) in the theatre and like you was quite underwhelmed. Funny but I never thought I’d hear about that one ever again. I must check out that CLOWNS piece!
Many thanks my great friend!
Hello Sam and everyone!!! Thank you so much Sam for featuring my Sam Flick Pick this week, and I’m so happy that you liked it, it truly haunted me and I once again thank you publicly for giving me these movies, if it wasn’t for them, I don’t know what I’d do with my blog.
You seem to have quite some good time ahead Sam! With the Tribeca FF and some good pictures to look at, I hope we hear some reviews on some of the films, oh, and about The Trip, take in count that it’s the shorter movie version, don’t know how it’ll be, but I hope it’ll make sense, and I can expect it’ll be perfect just as the miniseries was. You can then catch the miniseries later!
You saw a sneak peek, and one of Moneyball, no less, even if I’m not familiar with the story, I just can say that I’m glad that the director of Capote decided to make a new film, and it looks interesting, I’m looking forward to it.
My week… well, monday we shot a short film in our Cinematography class, with many light effects and nice colours, and I had to act in it, supposedly it had to be delivered today, but the teacher cancelled the class and I’m at home writing this, hoping to catch up with some stuff I have to do for the rest of this short week, since it’s Holy, and I don’t have classes starting Thrusday afternoon.
Tuesday I saw the girlfriend and wednesday we did some camera excercises. On thrusday we finished seeing Crime and Punishment on my film class. Friday I had a test )hope it went well) and saturday with my girl we celebrated our three months together with a trip to the mall (not romantic at all, hahaha), but we did get to eat something.
My week, movie wise:
– THE DEVILS (1971, Ken Russell) ***** Well, it’s a masterpiece and it’s in my list of my favorites movies of always. You people can read the review, it’s featured up there on Sam’s splendid blog roll.
– DR. JEKYLL AND MR. HYDE (1931, Robert Mamoulian) ****1/2 Splendid acting and camera work! I was surprised by the enormous quality of both aspects in the movie and how well it, kinda, followed the masterful novel of Stevenson, it’s one of those horror movies that lack the horror when you see them now, but they feel well made and consistent.
– FROM DUSK TILL DAWN (1996, Robert Rodriguez) ****1/2 The most fun vampire B feature you’ll ever see! I was entertained by Tarantino’s dialogue, the acting and the discovery of quite a good share of movie references, which always make my movie seeing enjoyable. They had fun making this film, and maybe it gets stall towards the middle, I had fun with all of it.
– THE LAST BROADCAST (1998, Stefan Avalos, Lance Weiler) **1/2 Blair Witch before Blair Witch. Even if I haven’t seen the film mentioned before, I saw this and felt cheated towards the end. It was made in a strange way, to make you feel as if something revealing was going to happen, and when it happens is dull and strange and you don’t really know what happened. The atmosphere was good, though.
– THE MONSTER SQUAD (1987, Fred Dekker) ***1/2 Good and heartful homage to the monsters of yesterday, but some logic problems regarding the plot, as well as some confusion on who did what when and about the purpose of the whole evil plan, and the cheap Holocaust shot, made it cringe worthy. Dracula beats ’em all.
– CRIME AND PUNISHMENT (1983, Aki Kaurismaki) ****1/2 One of his first films and already almost a masterpiece, I found it contained, much in the Bresson way, and just so well acted and shot, it would be a favorite if it wasn’t for the whole distancement thing, that always turns me off. My first Kaurismaki too!
– SCREAM (1996, Wes Craven) **** Preparing for the fourth installment of this series, I found the first one to be bloody, entertaining, and just awesome in every sense, but it lacked what I was given hope fior: meta and more meta, there were some hints of it, but it wasn’t the main stuff in it, I hope with the sequels that it gets even more meta, I love that stuff!
– SOURCE CODE (2011, Duncan Jones) **** It wasn’t bad, but I was hoping for more, and it left me wondering if the ending didn’t, kinda, cheat on us. I can understand its logic, but… well, that’s kinda spoilerific, so SPOILER didn’t his mind die? why it would pass into a new dimension?**
– XI AVANT (2011, Kenji Kamiyama) **** Short anime movie, available online without subtitles, but I saw it anyway, it was beautiful, even if it’s a commercial for a cellphone. It got me enough for giving it that rating.
Hope you have a good week Sam and everyone!
Jaime, you overstate my gesture, but I much appreciate your appreciation and faithful coverage of the films. THE DEVILS was the one that you had wanted most of all and I’m very happy it didn’t disappoint. You also put together one of your finest reviews for it.
Allan has indeed informed me that the Tribeca version of THE TRIP is teh shorter one, but truth be told I wasn’t given a ticket for that particular feature. It probably was sold out prior to my sending in my choices. Anyway, Allan keeps urging me to watch the longer version, which is sitting here on DVD. I will definitely get to it. The schedule is:
Point Blank (Saturday, 23)
My Last Round (Sunday, 24)
The Swell Season (Monday, 25)
Gone (Tuesday, 26)
The Perfect Family (Wednesday, 27)
Roadie (Thursday, 28)
Detachment (Friday, 29)
Shakespeare High (Saturday, 30)
Also, a Korean film with the word MUSAN in the title and GIVE UP TOMORROW are being considered.
So you had some progress in that cinematography class, and even got to do some acting! Nice! And more time with the girlfriend too! I know that your University finishes classes on Wednesday for Easter break. The same schedule basically is followed here. Great too that you finished up CRIME AND PUNISHMENT and got to have some fun at the mall!
Like you I like the 1983 Kaurismaki CRIME AND PUNISHMENT quite a bit, as I do the 1932 DR. JEKYLL & MR. HYDE, a classic of the cinema, containing one of the all-time greatest performances by Frederick March. Nice capsule assessment there! I remember the make-up for that film used a technique that hasn’t been equalled even to this day in the transformation sequences.
SCREAM??????
Guess what Jaime? That’s all my kids have been watching all week long in this house!!! SCREAM, SCREAM 2, SCREAM 3, all as a result of seeing teh new release in the multiplex over the past weekend with Lucille, at the same time I watched THE CONSPIRATOR in the same building by myself! Nice to hear you are pleased with this new installent. I will pass on the word!!!!
I’m no fan of MONSTER SQUAD, so your summary analysis is fair enough. FROM DUSK TILL DAWN gets *** 1/2 from me, so your rating is fair enough. I also haven’t much use for THE LAST BROADCAST and as you already know, SOURCE CODE. But I respect your position fully, and realize I may well be too harsh. I haven’t yet seen XI AVANT, but appreciate the stellar regard and summary here.
To you, your family, your girlfriend et al, have a Happy Easter my friend! Thanks as always for the very special re-cap!
Thanks for the mention Sam.
You seemed to have had a good week in terms of movie watching, with a lot more on your way in the Tribeca Film Festival. It was great to hear that WitD has been given passes to the film fest, and hope you get to catch some really good films there.
And yeah, its been a pleasure following Maurizio’s terrific noir countdown. And with the countdown having entered its final leg, its getting more and more engrossing with each post.
By the way, since I’d loved the film version of The Girl with the Dragon Tattoo, I read the book, and liked it too. Right now I’m reading the second book in the Millennium trilogy, The Girl who Played with Fire, though the film version was quite a letdown. Between these 2 I read the brilliant satire on Russian communism by Orwell, viz. The Animal Farm. I’d read his 1984 sometime back, and since I’d loved the book, this one was on my radar since then.
The state I belong to (West Bengal), whose capital is the city I hail from, Calcutta, has had the longest running democratically elected communist government in the world. But after 34 long years, it seems quite certain that CPI(M) – Communist Party of India (Marxist) will at last lose in the state elections that are supposed to take place over May. So it seems ironic that I chose to read Animal Farm now 🙂
So West Bengal is going democratic now? Interesting.
@David: In case you didn’t notice, I’d mentioned that its a “democratically elected” government. Therefore, the phrase “going democratic” is meaningless and irrelevant for West Bengal, as it has been democratic from before the party came into power. General elections are held every 5 years for each of the states; so, in the last 7 general elections, the people of West Bengal, through the process of fair & secret ballot (I guess that’s how democracy works in any country or place), chose CPI(M) to be the ruling party. I know it might be difficult for you to comprehend, but I don’t think I can explain it in easier English.
There seems to be a typo in my second comment. I’d written, “Communist Party of India (Marxist) WON’T at last loose in the state elections that are supposed to take place over May.” It should instead have read,”… WILL at last loose in the state elections…”. I guess the comment would make sense now 🙂
Shubhajit: You are really a busy beaver these days on both the film and literature front! That’s quite an interesting lot there. I agree with you on THE GIRLWHO PLAYED WITH FIRE, and truth be said I can’t say I was much a fan of the rather convoluted THE GIRL WITH THE DRAGON TATTOO.
Although David may have misunderstood you, I knew from the get-go what you were saying about West Bengal democracy. I corrected the mistake as well.
Many thanks my friend!
The final countdown choices are sure to raise some eyebrows Shubhajit! I have some ideas, but I’ll stay mum. In any case I am 99% certain what the #1 will be but again I will of course keep it to myself.
Yes, I am thrilled about Tribeca.
Many thanks my very good friend!
You have me really excited about the Lincoln assassination film. I’m one who is familar with Mary Surratt and her nefarious boarders. I’m read some great reviews and some others in the middle. redford has done enough fine work in his career to warrant some optimism.
Congrats on Tribeca.
Thanks David! THE CONSPIRATOR is playing in Edgewater and all over the place, so you shouldn’t have a problem seeing it. I know this is your area of specialty, and I’m expecting a strong reaction from you.
Happy Monday or Blue Monday (thanks New Order), whichever applies —
I dunno, Sam, I’ve always preferred Redford the actor (esp. ‘Downhill Racer,’ ‘Jeremiah Johnson,’ ‘The Candidate’) to Redford the director. His directorial efforts are larded with too many noble messages, too much liberal piety and so safely, immaculately, unimaginatively framed, like a brand new box of designer Kleenex. Don’t even get me started on “Ordinary People.” Best Oscar picture over ‘Raging Bull’! “Raging Bull”!!!!!! Maybe that’s why I hold such an animus toward the film. Ugh.
But Redford the actor is aces, very underrated probably because his golden looks deceive audiences into thinking he’s just another matinee idol looker. But underneath that pretty exterior lives a fine actor.
I see Natalie Portman is about to appear in a new film inauspiciously titled “Thor,’ to be released next month. Hmmm.
Child needs a new agent is what I’m saying. Girl keeps this shit up, she be squandering all Marky’s goodwill towards her.
On a more serious note, I watched Jancso’s ‘Silence and Cry,’ a strange film with a unique aesthetic unlike any I’ve seen, even in the most avant-garde Bergman or Godard. I’ll definitely be watching this a few more times and hope to elaborate on it later. Thank you, Sam J.
“I dunno, Sam, I’ve always preferred Redford the actor (esp. ‘Downhill Racer,’ ‘Jeremiah Johnson,’ ‘The Candidate’) to Redford the director. His directorial efforts are larded with too many noble messages, too much liberal piety and so safely, immaculately, unimaginatively framed, like a brand new box of designer Kleenex.”
Aye Mark, you are not the only one who feels this way, and it’s always a tough road defending his atristry. While I certainly won’t try and convince you otherwise, I will say I have always thought highly of ORDINARY PEOPLE (whether or not I think it should have won the Best Picture Oscar–after all, it was also named Best Picture that year from the New York Film Critics Circle)
http://en.wikipedia.org/wiki/1980_New_York_Film_Critics_Circle_Awards
Geez, if our most respected critics’ group thought it better than RAGING BULL, we can hardly take issue with the Oscar people, who were basically following suit. Back in 1980, ORDINARY PEOPLE had my vote as well. Now I see Fassbinder’s BERLIN ALEXANDERPLATZ as the best film of that year. I also have high regard for A RIVER RUNS THROUGH IT, and think well enough of QUIZ SHOW and THE MILAGRO BEANFIELD WAR. But again, I fully understand and respect your position.
I am thrilled to hear what you say here about the Jansco, and can’t wait for further elaboration. It’s a fascinating film but a world-class artist.
Good point there about Portamn!
Many thanks as always my very good friend!
Just checked out the link and the NYFC were spot on in naming DeNiro and Pesci in the acting categories, but ‘Ordinary People’ always struck me as safe, middlebrow entertainment. Suicide, psychiatry, alienation under the roof of a big, white suburban home all sanitized for a mainstream audience. I know upper-class white families aren’t immune to the litany of societal ills, but Redford’s picture is like the women’s magazine portrait of a privileged family under assault — the mother’s distress because the blood from her son’s suicide stained the bathroom grouting.
I’ll concede, though, that Redford sure knows how to handle actors. Being a first-rate actor himself probably helped Redford guide Hutton, Moore, Sutherland and McGovern to superb performances. Moore would have been my pick for the Best Actress Oscar that year. Such a complete and convincing reversal of her sunny Mary Richards persona. Little Mary Richards with a very bad case of PMS, the tight smile and the way she carries her body in that stiff, constricted way. Good stuff.
Was ‘Alexanderplatz’ released in the US in 1980? I always thought it was a 1983 release. If it was 1980 then, yeah, it was the best film of that year, with ‘Raging Bull’ runner-up. I’ll go out on a long limb and say I still think Scorsese’s picture is the best American film of the past 30 years.
Ay, the confessions you pull out of me, Sam. Ha!
LOL Mark! Yes, Fassbinder’s film was released on German television in 1980, and the IMDB list it as such, so it’s 1980. I see Allan has it down for that years as well. But I can’t fault you for going with RAGING BULL as the best American film of the last 30 years. That’s a question I would have to ponder on. Many would say SCHINDLER’S LIST, but I think I’d go with something else. I’ll think about it tonight, as I have a four and a half hour staging of ANGELS IN AMERICA PART 2 in Manhattan, and won’t be able to blog at WitD until I get home, at which point I’ll at least check the site.
De Niro and Pesci did indeed deserve the top acting honors for 1980. I agree with you that Redford got good acting right along, and fully understand what you say about ORDINARY PEOPLE in general. There are many who would completely concur.
‘the blood from her son’s suicide stained’
meant to type –
‘the blood from her son’s suicide attempt stained’
sorry, man
Well, at least the Academy didn’t name ‘Coal Miner’s Daughter’ best pic. lol.
Thanks a lot for the mention Sam. I look forward to your Tribeca updates. I had wanted to attend this year but I had to postpone taking any time off until summer. Also, glad to see you liked Le Quattro Volte. I missed seeing this at TIFF last year but those who saw it praised it a lot. So I have been waiting for it since then.
I recently saw Attenberg and liked it a lot. It shares some aspects with Dogtooth but Attenberg is far gentler and has a tender heart although that fact might not be apparent amid the kisses and honest talk about sex 🙂
Thanks so much Sachin! I rarely see more than 2 or 3 films at Tribeca, but the additional passes make it hard to resist. I will definitely have a round-up. I couldn’t imagine you not going for LE QUATTRO VOLTE in a very big way. It’s a wordless meditation on life, and it’s images are arresting. I look forward to ATTENBERG and very much appreciate the assessment here.
Thanks for the link, Sam. I’ve just put up a small gallery post on The Matrix Revolutions.
This week I saw
LANCELOT DU LAC ** (out of 5)
and rewatched A MATTER OF LIFE AND DEATH ***
Hey Stephen: I’ll definitely be checking out that MATRIX REVOLUTIONS post very soon! I’m sure you’ll have some insightful analysis up therre!
That’s a tough love rating there for Bresson’s movie, though I know that is not everyone’s favorite. Speaking of re-viewings, I’d like to check that one out myself again soon. The Artificial Eye Region 2 is an exceptional DVD as opposed to the washed out New Yorker Region 1. Similarly I like the Powell & pressberger more, but would love to read your further elaboration at some point.
Many thanks as always my friend!
Hula Burgers, Sam! Starting Thursday you’re going to need to wear roller blades to keep up a strong-and-steady pace for everything you’ve got to get done. Make sure to wear a helmet, and for goodness sakes, fasten the chip strap!
hahaha Laurie! You got that right! And leading up to it I have no rest at all. Tonight (Tuesday) for example, I have the second half of that staging of ANGELS IN AMERICA which will run over four hours! I do need to get a grip for sure though! Many thanks as always my very good friend!
You’d never get me to sit for that long in a theatre! But I bet you’ll say it was worth it.
I was in New York on Saturday Sam, and I rewatched Meek’s Cutoff, which I stand by 100%. I also spent some time at the Anthology Film Archives, where Serge Bozon presented two of his favorite movies as well as his own film La France. The reason I went was that one of the films he was showing was Jacques Tourneur’s Canyon Passage, one of my all-time favorite movies, and it was great seeing it on the big screen. The other movie he showed was Allan Dwan’s Tennessee’s Partner, which I’m ashamed to admit I’ve never seen. It was clear Bozon thought it was a masterpiece, and I have to say I agree.
I’ve been really missing blogging and regretting I ditched TLVH so am trying to resurrect it right now. I put up a review of John Sturges’ The Law and Jake Wade last night and I think I will alternate between new reviews and revisions of old reviews from the old site, just see how it goes day by day. Hope all is well! I really want to see The Princess of Montpensier (although I didn’t love Le quattro volte like so many others did).
Peter: Great to see you here! I’ve figured you’ve been missing the action on the boards, and truth be said you’ve been missed as well. In any event I’m thrilled to hear you have a post up and have opened your doors again. I’ll be sure to check out the Sturges review! I’m sorry you didn’t like LE QUATTRO VOLTE more, but I can see how that film could come off as static. There’s certainly a taste thing at work there, but I’m sure you would make a compelling case why it didn’t do much for you. I do urge THE PRINCESS OF MONTPENSIER though! great stuff. But heck Peter, already I have a Ten-Best list for 2011, and it’s only April!!! LOL!!
(in no particular order)
Poetry
Of Gods and Men
Winter Before Wartime
Uncle Boonme
Win Win
Jane Eyre
Bal (Honey)
Le Quattro Volte
The Princess of Montpesier
Certified Copy
And then two excellent docs too (The Last Lions and Nostalgia For the Light)
I love the Anthology Film Archives and have seen and admired LA FRANCE. In fact that is precisely where I saw it when it debuted in NYC a few years ago!! But you got to see Bozon in person!! Fantastic!!! I also have not seen TENNESSEE’S PARTER, but I love that Tourneur as well!!! You had SOME weekend in the Apple!!!
I applaud you for standing behind Reichart’s film, and truth be said I do want to give it another look!
Welcome back my friend, and will see you at your place! Many thanks!
Belatedly I can add to the list of influences on Aronofsky’s “Black Swan” Dostoevsky’s ‘The Double,’ which I read last night. The scene where Portman passes her doppelganger on the street is straight out of the book – the scene with Goliadkin on the bridge after he’s humiliated and ejected from the State party.
Still I don’t think Aronofsky dramatizes the split between the idealized self and the diminished, true self very well and that’s because he uses Tchaikovsky’s ‘Swan Lake’ ballet as the symbol for his theme of dualism — ‘Swan Lake’, long considered camp by many, including Sontag, endlessly parodied and overperformed by stock dance troupes to the point of absurdity. Maybe that’s why I kept getting the giggles during the film’s frenzied finale. It plays like a parody of a parody crowned by the Cronenberg special effects. My low opinion of ‘Black Swan’ hasn’t been elevated by the Dostoevsky reference. (I know this is like flogging a dead horse here, ha).
So now I’m on to ‘The Gambler.’ James Toback (do any film buffs remember this director?) made a contemporary version of this Dostoevsky short novel back in 1974 with James Caan. Suppose I’ll have to dig up the DVD and see how Toback grappled with the Russian master.
Mark S, while I’ve never seen this ‘The Gambler’, I know the source material well. Perhaps you’d be interested in Scorsese’s LIFE LESSONS from the NEW YORK STORIES triptych which was based on that story. It’s actually my personal favorite thing ol Marty has ever done.
Jamie, some fact-checking reveals ‘The Gambler’ was directed by Karel (Morgan!) Reisz and written by Toback, loosely based on D.’s short novel. Apparently, Toback, like Dostoevsky, had a gambling obsession – (I read somewhere Dost. hawked his wife’s wedding ring to continue his habit, then had some sort of religious epiphany and never visited the roulette tables again) – so he wrote this screenplay, his first. I’ve never seen Reisz’s film, nor Toback’s first directorial effort, ‘Fingers,’ highly praised by some. Worth checking out. And thanks for the tip on the Scorsese pic, another I’m red-faced to admit I haven’t seen. Later.
Hi Sam, that ‘Conspirator’ film sure looks interesting. I think, going by your review, it would make a lovely double bill with Ford’s ‘The Prisoner of Shark Island’!
Anyway, I’ve been away from the internet and have really been making some huge progress with life goals over that last three or four weeks. Manufactured carbs and anything farm related has been eliminated from me diet since Feb this year, and I’ve cut down on training too. From 3 to 5 hour a week, it’s down to 45 minutes….and the results have been that all vestiges of fat from my mid-drift has just gone. It seems that recovery time, and having an intense, pushing the edge over 45mins is vastly better. No more running either, which was sometimes interesting when in the zone, but usually a bore and time-consuming. Instead, one session of a 30 second sprint, followed by a 30 second rest done six times each – a 8 to 12 times gives as much as 2 or 3 hours running/cross-trainer/cycle, ect.
Suddenly, my body is morphing into a ‘Men’s Health’ cover. Well, 20 years waiting for the elusive obvious and then “pow”, all at once.
Anyway, it’s allowed my time to get into movies and short stories too.
I’ve been reading the short fiction of J.B. Priestley, especially his volume ‘The Other Side’ – which contains about 70 to 80% of his SF, fantasy and weird fiction. He is one hell of a writer and two of his tales; ‘Mr Strenberry’s Tale’ and ‘The Demon King’ and sterling in the artistry. They belong with the greats of the genre. I’ve also been digging into the stories of W. Somerset Maugham, who is a similarly gifted writer, combining deft characterisation or interior life of people with the plotting skills of the best. A combination of Maupassant and Chekov, yet also – his stories read like dispatches from the outposts of the British Empire, alive with local colour. Strangely, I was after just the speculative fiction side but have drawn to all aspects and in particular looking forward to ‘The Letter’.
As for movies….
Fallen Angel*
A film noir that was on my hit list but spurred on by the countdown, I dug it up. I found it a film with three distinct phases. The first third is the stongest – with bold camera moves and a vivid picture of a grimy, dust backwater of a town without much hope. Darnell is excellent and highly trampy – much more so than I would have expected from the era. The second section turns into a murder mystery, still of interest but this peters out into probably the silliest tying up of the plot threads in all of noirdom.
Gun Crazy*
Another film on the hit list. Vigorous direction but the plot is nothing new and when one has seen ‘Bonnie and Clyde’ it’s performances and overall tone became laboured.
Crime Incorporated****
A brilliantly hypnotic documentary in 6 parts about the rise of the Mafia, made by the independent sector before Thatcher pulled the plug and gave us Rupert Murdoch. It also makes ‘The Godfather’ look like a glamourised tea party. Such vermin.
Yes Minister****
The classic British TV series, a refined high point for comedy on the small screen. Sheer civilised pleasure.
Foreign Correspondent***
This is marvellous Hitchcock full of delicious touches by the Master, especially the assassination and the windmill sequence, a jaunty score by Alfred Newman for the quaint country and excellent leads. Not to mention a rousing finale as Joel McCrea, in the shadows of a studio asks for help from the listening world beyond the European shores. Reminds of a similarly rousing final from a Rathbone Holmes entry, about the ‘East wind that blows and nothing will ever be the same’.
The film’s handicap is that not much of the plot segments really gell, they seem cobbled together and no matter how many times I’ve seen it, it’s hard to remember. It is a film of scenes. I think I prefer ‘Thunder Rock’ in terms of ‘the coming menace’ sub-genre of war films.
Lifeboat***
I know it’s a minor Hitch, but there is something very compelling in the characterisations and their growth and the challenge of playing in such cramped quarters, the whole team rise to splendidly. It’s one of those films I find it hard to turn over from and I remember missing appointments galore, when films such as these were shown as afternoon matinees.
Who’s Afraid of Virginia Woolf*
I watched this after Liz’s passing and ‘Butterfield 8’ of which 10 minutes were enough to repel me. This was better but I found it too theatrical in the tempo of it’s performances. The story far fetched and rather dull.
Brass*
A early ’80s Northern comedy, something akin to a mixture of ‘Soap’ and period dramas of the era such as ‘When the Boat comes in’. Amusing enough, with at least two good laughs per episode. My favourite line being by the Capitalist head of the mining town saying, “I’ve never been afraid to pay a man a good day’s wages for a week’s work.”
Le Jeete*
I’ve had this for ages and dug it up, as one of my resolutions is to watch and read everything that I have (after listening to a seminar stating the 90% of books brought are never read – so I’ve not only decided to read them but to implement them if they are about self-development) this was up. It’s not bad, but it’s reputation is far larger than it’s accomplishment. I prefer Orson Welles TV pilot ‘Youth From Vienna’ (based on John Collier’s excellent short) which used the same style of voice-over narration to accompany still photographs.
The Bespoke Overcoat
Another short, based on Gogol’s short tale but this time with terrific sense of place and a Jewish ambiance. The sterling direction, suggesting great things to come was by Jack Clayton.
Anyway, we are having a heatwave here right now. It’s marvellous…
Bobby: We can even throw in GLORY and YOUNG MR. LINCOLN and make it a marathon! Ha! Well, I just got done dressing down Jason Marshall at MOVIES OVER MATTER for taking Redford’s movie down (a friendly disagreement of course) as I am further emboldened by seeing the film a second time last night. I think I liked it even more. I can’t say where you’ll go with it, but I think you’ll at least say there are some good things here.
You have really done a great job with the weight loss and the health regimentation, though since I first met you, you’ve been on top of things. Great to hear that your fitness has yielded such visible results, but after learning what you’ve done I’m hardly surprised. The banishment of the manufactured carbs and farm related products has really worked. I must tip my cap to you for your incredible resilience! Few can keep going that way. I know I’m always back and forth, back and forth.
I like Priestly, but am partial to Maugham. His OF HUMAN BONDAGE of course is a literary masterpiece, but I also am an admirer of THE PAINTED VEIL (made into a ravishing film with Ed Norton and Naomi Watts) and THE RAZOR’S EDGE. I read Maugham enthusiastically in my undergraduate years and like the analogy you pose blending Chekov and Mauppasant with a dash of the dispatches of the British Empire with local color. Indeed!
I completely agree with you on YES MINISTER and the two Hitchcocks, FOREIGN CORRESPONDANT and LIFEBOAT and appreciate the astute capsule commentary on each. I can’t agree on WHO’S AFRAID OF VIRGINIA WOOLF? which was often electrifying; I rarely found it dull myself, and I am definitely a bigger fan of Kar-Wai’s film and GUN CRAZY, though I don’t think either a masterpiece. I like LA JETEE, but perhaps you are right that it’s reputation is just TOO accomodating. I don’t know of THE BESPOKE OVERCOAT, and never saw CRIME, INCORPORATED (which sounds fascinating!!) and am no fan of BRASS.
As always you are a scrutinying viewer, which is much appreciated in these parts!
We had some of that heat, but now it’s getting cold again!
Have a very Happy Easter my friend, and many thanks to you as always!
Thank you for the mention, Sam.
Here, the news on the earthquake and its aftermath are gradually receding, while the disastrous nuclear plant saga continues. Though panic among general public is hitting headlines less frequently, there are some worrisome bits of news here and there. Discrimination against materials, food or even people from Fukushima area, TEPCO telling us “we didn’t know” once a day, strange political tug of war during this crisis. Good news are the ones that don’t make headlines so often, either. International rescue effort are in place to help those in need and global support for the nuclear disaster are accelerating the containment process.
Life is never back in normal again after such an tragedy. Many of us have to reconsider future plans and prospects, including me. Oh, well, that’s life.
Your report on Redford’s new film is quite interesting, though my encounter with his previous directorial outputs left me with strangely thick tastes in my mouth. This film may be more rewarding since it deals with rather obscure historical event involving the major figures in U.S. history. “LE QUATTRO VOLTE” seems to be a fascinating film, I would give it a try if it comes around.
A Great post as always,
MI
My friend, I have been following the harrowing drama surrounding the nuclear plant reactor with my fingers crossed. The news about the disaster in your country has indeed been lessening day by day, but that’s almosta given when you consider the terrifying events of last month and the logistics that things have nowhere to go but upwards.
When you say this:
“Life is never back in normal again after such an tragedy.”
you pretty much say it all. I imagined myself last week, and how I would react if I were in the middle of this disaster, and I would certainly understand that nothing could ever be the same again. Sadly this was a life-changing event, and I can well understand it’s ramifications will resonate for decades into the future. When you say that you are considering future plans and prospects I am wondering if that may include relocating away from Tokyo, or even out of the country. I am sure that many Japanese nationals have pondered this option, though it can never be an easy decision of job holders, and those who have families, extended families, and have lived here their entire lives. If I were confronted with a similar calamity in the NYC area, I can’t say what I’d do, though I’d HAVE to think of my wife and five children. That said, I am fairly certain that nearly the entire population of Tokyo isn’t directly in any danger, even with those dire aspects you document here. It’s easy for me to say sitting here many miles away, but I look into the future and see steady improvement now for you and your family and friends, MI. You have weathered the worst of it, and I see teh contamination issue as one that can be handled.
I liked Redford’s film to the point of seeing it a second time last night at our local multiplex. Yes, even some Civil War buffs may not fully know the Surrat story. The film is handled with taste and restrait, and the coutroom scenes are compelling. McAvoy, Wright, Kline, Wilkinson et al, give vivid portraya;s, and the small budget is wisely employed. Yes, I am sure my friend that LE QUATTRO VOLTE will most assuredly be your cup of tea.
You are in our thoughts and prayers. I can’t thank you enough for your updates my great friend.
I’ll be checking out the Redford film this coming weekend. A few colleagues of mine have really been singing it’s praises. I think the Surratt story deserved it’s own movie.
Please let me know what you think Peter. I’m planning a full review at the site for Monday morning. Many thanks my friend!
Easter just wouldn’t be Easter without a couple of things: chocolate bunnies and a family viewing of The Human Centipede. Some old fogies still prefer to sit the family down in front of the television screen and subject them to The Wizard Of Oz every year, but can that film boast a human centipede? Three people surgically connected orally to anally beats following the Yellow Brick Road on any given Sunday.
This serene, beautiful tale takes place in Germany, the birth places of Josef Mengele and Adolf Eichmann and it’s just the thing for easy holiday viewing.
The main guy, the mad doctor who perpetrates this outrageous blot on the medical profession is played with gusto by one of the creepiest looking motherfuckers I’ve ever seen in a movie.
For sheer total and unabashedly bald sadism this film has no rival.
The ending makes the ending of the European version of The Vanishing seem like hot apple strudel.
I swear to bleeding Jesus that this movie makes Henry, Portrait Of A Serial Killer seem like Fried Green Tomatoes by comparison.
I could go on all night: cliche after cliche after cliche…