by Sam Juliano
The death knell for summer has been sounded, and the only other things left are the memories and the traditionally hot weather that continues on for most of September. School teachers are readying their rooms (not me as I’m a “floater” who moves from room to room and building to building! Ha!) and preparing for yet another term, and most have completed sabaticals. Movie lovers haven’t been treated to all that much by way of quality movies during June through August, but are heartened by the coming of fall, which usually brings some promising releases. It’s safe to say that most of 2012’s good stuff is lying ahead of us, even if for some us, the year has offered us gems from Bela Tarr, the Dardennes, Joaquim Trier, Terrence Davies, Jafar Panafi and Richard Linklater among a few others that are making strong bids for year-end ‘best of’ lists. Speaking of ‘lists’ Allan’s weekly weekend survey of every year from the early 20’s onward continues to attract well-deserved attention and participation from many distinguished film bloggers and friends.
Pinball lovers all, my brood enjoyed a trip on Sunday evening to the Pinball Arcade and Museum in Asbury Park, the seaside resort town famed for Bruce Springsteen’s early musical ascendency. The place featured nearly 200 machines including the much-desired 90’s titles that are always a joy to navigate: Medieval Madness, Indiana Jones, Twilight Zone, Scared Stiff, Attack from Mars, Theatre of Magic, Elvis, The Addams Family, and Roadshow, and some recent Stern titles like The Simpson’s Pinball Party and The Sopranos, in addition to some classic earlier machines. Lucille and Sammy engaged in quite a battle for superiority on Attack from Mars, and I’m still not sure who came out ahead! To cap things off was quite a thundering oceanfront fireworks display!
During the eight days covered by this TMD, we got to see quite a few films at the ‘French Old Wave’ and ‘Harold Lloyd’ Festivals at the Film Forum, and two newer releases to boot. I did want to see John Hillcoat’s Lawless this week, but couldn’t quite work it in, and will have to take it in over the coming days. Maurizio Roca disliked it, while Jamie Uhler was extremely mixed on it.
Lucille and I (and some of the kids for several) saw:
Hot Water *** (Monday, August 27) Harold Lloyd at Film Forum
Movie Crazy **** 1/2 (Monday, August 27) Harold Lloyd at Film Forum
Poil de Carotte ***** (Tuesday) French Old Wave at Film Forum
Le Bonheur **** (Thursday) French Old Wave at Film Forum
Liliom *** 1/2 (Thursday) French Old Wave at Film Forum
Cosmopolis ** (Friday) Landmark Sunshine Cinemas
Une Si Jolie Petite Plage ***** (Sat.) French Old Wave at Film Forum
ParaNorman *** (Sunday morning) Edgewater multiplex
Crime and Punishment *** 1/2 (Sun. aftern.) French Old Wave at F.F.
Safety Last ***** (Monday, Sept. 3) Harold Lloyd at Film Forum
The dizzying and brilliantly timed SAFETY LAST serves as a dazzling reminder why Harold Lloyd is spoken of in the same company with Chaplin or Keaton. I overheard one Film Forum patron telling a friend that “Lloyd is the most exciting of the three. My three boys adored it for the first time, and Steve Sterner’s piano accompaniment was exceptional. The Lloyd talkied MOVIE CRAZY is another gems with some spectacular set pieces, and HOT WATER, while lower tier Lloyd still has it’s share of laughs. David Cronenberg’s COSMOPOLIS is cynical and tiring, devoid of emotional connection and intellectually convoluted. I found it torturous to sit through, but my site colleague Jamie Uhler is a fan. Fair enough. PARANORMAN boasts some creative stop motion animation, even if the story seemed recycled from elsewhere, and the narrative is oddly distancing. The kids really liked it. Of the films seem this week at the French Old Wave Festival, two were masterpieces: Julien Duvivier’s 1932 re-make of his own silent POIL DE CAROTTE is one of the most moving childhood films ever made; the dark noir UNE SI JOLIE PETITE PLAGE is a brooding and ominous mystery set in a constant cold rain that physically chilled me as I sat in the theatre. Directed by the distinguished Yves Allegret and featuring an excellent Gerard Phillipe in the lead. Pierre Chenal’s 1935 CRIME AND PUNISHMENT is superbly acted without question, but overall it’s not the strongest film version of this great novel. Marcel L’Herbier’s rarity LE BONHEUR is quite good and well worth seeking out. Fritz Lang’s LILIOM is another strong entry in the festival, if not any kind of a masterwork.
As to the links, I re-printed last week’s scroll exactly as it was an changed some of the links closest to the top, and a few others below. I managed at least a dozen or so updates:
John Greco has penned a wonderfully engaing review of George Stevens’ “Vivacious Lady” at Twenty Four Frames: http://twentyfourframes.wordpress.com/2012/08/31/vivacious-lady-1938-george-stevens/
Samuel Wilson has penned a superlative essay of Ceylan’s “Once Upon A Time in Anatolia” at Mondo 70: http://mondo70.blogspot.com/2012/09/once-upon-time-in-anatolia-bir-zamanlar.html
Jon Warner has penned a stupendous essay on Vera Chytilova’s Czech New Wave classic “Daisies” at Films Worth Watching: http://filmsworthwatching.blogspot.com/2012/08/daisies-1966-directed-by-vera-chytilova.html
Judy Geater has penned a superlative review of the 1935 Hollywood version of “David Copperfield” at Movie Classics: http://movieclassics.wordpress.com/2012/08/17/david-copperfield-george-cukor-1935/
Th ever-effervescent Laurie Buchanan’s latest post at Speaking From the Heart takes a look at an American institution and the unforgettable coda “If I Only Had A Heart”: http://holessence.wordpress.com/2012/08/28/if-i-only-had-a-heart/
At FilmsNoir.net Tony d’Ambra makes a terrific case for James Wong Howe’s shadowy cinematography as a vital component in the classic Dashiel Hammet sourced screwball noir comedy “The Thin Man”: http://filmsnoir.net/film_noir/the-thin-man-1934-james-wong-howes-noir-counterpoint.html
At Ferdy-on-Films Roderick Heath has written a collosal, brilliant essay on Georges Franju’s Judex”: http://www.ferdyonfilms.com/2012/judex-1963/15739/
R.D. Finch has once again offered moviegoers a top-drawer review at The Movie Projector with an excellent essay on Frank Capra’s “Lady For A Day”: http://themovieprojector.blogspot.com/2012/08/lady-for-day-1933.html
Shubhajit Lahiri has posted a fantastic capsule on Chabrol’s “This Man Must Die” at Cinemascope: http://cliched-monologues.blogspot.com/2012/09/this-man-must-die-1969.html
David Schleicher has penned a spirited review of John Hillcoat’s “Lawless” at The Schleicher Spin: http://theschleicherspin.com/2012/09/02/bootlegging-brothers-and-chastain-in-lawless/
At Scribbles and Ramblings Sachin Gandhi features a terrific report on the showing of Indian cinema in the Sight and Sound poll: http://likhna.blogspot.com/2012/08/indian-films-in-sight-sound.html
David Lawrence, thjat erudite and personable educator from the U.K. features a poster of a Hammer classic at his new site Musings and Meanderings: http://1mouth2ears.wordpress.com/2012/08/12/movie-posters-1-dracula-has-risen-from-the-grave-1968/
At Exodus 8:2 Jaimie Grijalba continues with his “100 Days of Terror” with a terrific review of 2001’s “Jason X’: http://exodus8-2.blogspot.com/2012/09/100-dias-de-terror-n-42-jason-x-2001.html
At the Creativepotager’s blogsite “The Artist Studio Floor Show” again brings the beauty of Terrill Welch’s paintings in glorious focus: http://creativepotager.wordpress.com/2012/08/11/3890/
At Darkness Into Light Dee Dee is featuring the work of the esteemed writer Andrew Katsis, who takes a penetrating look at the 1940 Hawks screwball classic “This Girl Friday”: http://noirishcity.blogspot.com/2012/07/the-word-according-to-my-writer-andrew.html#.UB8tyU2PXW4
In Tokyo, the exceedingly talented ‘Murderous Ink’ turns his scrutinizing focus on a Miziguchi classic “The Lady of Musashino” at Vermillion and One Nights: http://vermillionandonenights.blogspot.com/2012/08/musashino-landscape-that-never-was-part.html
Brandie Ashe happily announces a “Singin in the Rain” giveaway at True Classics: http://trueclassics.net/2012/08/10/singin-again-plus-a-giveaway/
Joel Bocko has a lovely presentation up at The Dancing Image entitled ‘Art on the March…a visual mixtape”: http://thedancingimage.blogspot.com/2012/07/arton-march-visual-mixtape.html
Craig Kennedy features the actress Jane Wyatt in his ‘birthday series’ at Living in Cinema in her beloved role as Spock’s mother Amanda in “The Long Voyage Home”: http://livingincinema.com/2012/08/12/star-trek-iv-the-voyage-home-1986-jane-wyatts-100th-birthday/
Food for thought on the nature of friendship by Mark Twain leads up at the always creative Coffee Messiah’s blog: http://coffeemessiah.blogspot.com/2012/08/click-to-enlarge-keep-away-from-those.html
Ed Howard has penned a fantastic piece on Ernst Lubitsch’s ‘Die Pup’ at Only The Cinema: http://seul-le-cinema.blogspot.com/2012/09/die-puppe.html
Terrill Welch talks about the significance of blog writing and reading at the Creativepotager’s blog, where she again features another magnificent painting she completed: http://creativepotager.wordpress.com/2012/07/18/does-anyone-read-blogs-and-does-it-matter-that-you-write/
Sachin Gandhi offers up a terrific review of James Sallis’s “Driven” (the sequel to “Drive”) at Scribbles and Ramblings: http://likhna.blogspot.com/2012/08/driven.html
Just Another Film Buff offers up a lovely “remembrance” via his work of recently deceased famed filmmaker Chris Marker at The Seventh Art:http://theseventhart.info/2012/08/12/remembrance-of-things-to-come/
Roderick Heath has posted a terrific new review on “Chronicle” at This Island Rod: http://thisislandrod.blogspot.com/2012/07/chronicle-2012.html
At Patricia’s Wisdom, our very good friend has penned a superb book review on “The Unlikely Pilgrimage of Harold Frye”: http://patriciaswisdom.com/2012/07/the-unlikely-pilgrimage-of-harold-fry-rachel-joyce/
J. D. LaFrance offers an expanded version of his superlative comedy countdown “Slap Shot” review at Radiator Heaven: http://rheaven.blogspot.com/2012/08/slap-shot.html
The esteemed Film Doctor takes a scholarly look at the new “Total Recall” movie: http://filmdr.blogspot.com/2012/08/the-fall-enslaves-us-all-film-doctors.html
Adam Zanzie has posted a terrific “alternative Sight and Sound list at Icebox Movies: http://www.iceboxmovies.blogspot.com/2012/08/my-alternative-sight-sound-list.html
Jason Marshall has continued his superb coverage of 1942 at Movies Over Matter with a wonderful post on his Best Actor choice for that year: Chishu Ryu: http://moviesovermatter.com/2012/08/09/chishu-ryu-in-there-was-a-father-best-actor-of-1942/
Peter Lenihan has posted an arresting screen cap display of Murnau’s “Phantom” at The Long Voyage Home: http://thelongvoyagehome.blogspot.com/
At Doodad Kind of Town Pat Perry’s splendid contribution to the For the Love of Film Preservation blogothon is on Hitch’s “Mr. & Mrs. Smith”:http://doodadkindoftown.blogspot.com/2012/05/hitch-does-rom-com-for-love-of-film.html
At The Blue Vial Drew McIntosh leads up with “off the Wall” which brings “Silver Load” and the great John Alton into focus: http://thebluevial.blogspot.com/2012/06/off-wall.html
At The Last Lullaby, the ever delightful filmmaker Jeffrey Goodman takes a look at part sixteen of his long running quartet series: http://cahierspositif.blogspot.com/2012/04/favorite-four-part-sixteen.html
Stephen Russell-Gebbett at Checking on my Sausages again offers up a brillinatly-creative feature on ‘Sport as the Perfect Fiction”: http://checkingonmysausages.blogspot.com/2012/08/sport-is-perfect-fiction.html
Tony Dayoub takes a look at the summer’s Barnes and Noble 50% off sale for Criterion collectots at Cinema Viewfinder: http://www.cinemaviewfinder.com/2012/07/criterion-summer.html
Greg Ferrara at Cinema Styles talks about the Colorado shootings in a moving feature: http://cinemastyles.blogspot.com/2012/07/the-dark-knight-shooting-in-colorado.html
Jeopardy Girl talks about social changes of movie watching in her latest posting at The Continuing Saga of Jeopardy Girl: http://jeopardygirl.wordpress.com/2012/07/06/social/
Hokahey takes a fascinating look at both “Total Recall” films at Little Worlds: http://hokahey-littleworlds.blogspot.com/2012/08/the-two-worlds-of-total-recall_5.html
Dave Van Poppel has a tremendous batch of short reviews up at Visions of Non Fiction on the Toronto Film Festival: http://visionsofnonfiction.blogspot.com
“Cosmopolis” is easily the best film of 2012 I’ve seen so far, and likely a top contender for my favorite of the year. Cronenberg delivers his best work in over a decade, and proves himself more than a match for DeLillo. I can only hope that the director stays the course after returning to form like this, and that more of the author’s work can find its way on screen following this (“Underworld” deserves to be an HBO miniseries for the ages).
Bob, while my response to this film was rather scathing, I acknowledge it does have it’s fans, and I can certainly see why it hits the mark for a good number including yourself and Jamie Uhler. It was alas hugely problematic for me, but I would certainly watch it a second time out of respect for Cronenberg, a director I respect quite a bit, and one whose made some exceptional films. I appreciate the intelligent and enthusiastic response here, and as always greatly respect your opinion.
Many thanks for the mention Sam.
I’m not an arcade games player but that place sounds pretty cool. I hope you and your family had a good summer overall.
Going by the trailers Cosmopolis has an interesting style but I can imagine it becoming trying and tiring over the course of two hours.
Thanks Stephen. Yes the arcade was a change of pace and everyone had fun for sure! For all sorts of reasons this will be a summer to remember. I hope yours was fun too. Just the London Olympics alone would make it memorable. I’d definitely be curious as to what you’d think of COSMOPOLIS. Have a great week my friend!
You should have tried selling the pinball machines you have in the house to the owner of the arcade. I’ll bet you could have peaked his interests.
As only those who watch the show proabably already know, BREAKING BAD ended the first half of it’s 5th season and it topped the previous four with ingenious plotting and it presentation of some of the darkest corners of Walter Whites mind.
As always, the season ended with a cliff-hanger and all I’ll say is, shit, it was the single greatest cliffhanger of the entire series run. I am, literally, foaming at the mouth for the next twelve months to fly by so I can get right back to where we left off…
Easily, the best show on TV right now.
Well, Dennis, we have two here (ELVIS and THE ADDAMS FAMILY) and will hold on to them for nostalgic resons. The arcade does have both. Yes I will be getting back to BREAKING BAD soon enough as I completely Season 2 ofTHE WIRE this past week. Thank you!
I got a good number of films in over this long weekend. I recently joined Hulu Plus, which allows access to get a large portion of the Criterion catalogue, to be streamed in high quality. While I will admit that it is not the most ideal set-up – I would certainly prefer to own all of the titles myself! – for less than 10 bucks per month I have access to so many great films, it’s a great value for someone like me who is more concerned with just seeing many of these for the first time rather than quibbling over minor issues. Anyway, here is what I got to – all of these are first-time viewings:
Youth of the Beast (Seijun Suzuki, 1962): Stylish and an interesting neo-noir, but one that doesn’t quite flow as well as some of the better examples of noir in post-war Japan. Even so, it is at least fun to watch and looks great. I will be exploring more Suzuki in the near future.
The River (Jean Renoir, 1951): Renoir is as tasteful in color as he is in his great black and white films. This is a truly gorgeous film. I might not have been as intrigued by the story, but it was a joy to look at.
The Divorcee (Robert Z. Leonard, 1930): This is part of the FORBIDDEN HOLLYWOOD pre-code collection. I have volumes 2 & 3 and am now finally getting around to go through them. The ending was a bit of a cop out, but it still remains a very, very good pre-code film and one I would highly recommend. Even with a bit of a cop-out, I don’t think it detracts from the film overall I don’t have a lot of experience with the films of Norma Shearer, but I thought she was great in this one – a much deserved Oscar win for her.
Three on a Match (Mervyn LeRoy, 1932): Very tight film, with so much packed into barely over an hour. Dvorak is is good as everyone says. A highly recommended pre-code.
Pigs and Battleships (Shohei Imamura, 1962): At times violent, at other darkly funny, this is an outstanding look into the Japanese underworld during the American occupation. You can definitely see an influence on future filmmakers like Scorsese. Those opening shots, and the closing sequences, are wonderful. Really, really liked it and am I am anxious to get to more of Imamura’s work.
Osaka Elegy (Kenji Mizoguchi, 1936): A dark film, both in terms of story and visual style. You can tell this one was shot on the cheap, but that only adds to the effectiveness of the overall product. Mizoguchi’s touch and style are just so smooth in everything, with every shot being as tasteful as one would expect from him. One of the best of the 1930s. I have only seen a hanful of Mizoguchi’s films (the usual suspects), but I will now definitely be delving further into his work.
Have a great week, Sam… good luck returning to school!
Dave—
I agree that a deal like that is simply too convinient and cost effective to pass up! Yes we are collectors, but that could still be done at a manageable pace after you’ve taken advantage of the high quality streaming. Looks like you saw a magnificent groups of films there! YOUTH OF HE BEAST isn’t the very best Suzuki, but as you note it’s still an impressive work. Claude Renoir’s color cinematography on his uncle’s THE RIVER is one of the greatest achievements in the history of the cinema (WitD voters did name him best cinematographer of that year!) and I can well see why it was such a visual joy taking in that film! Few films are as ravishing. I agree that Sheraer was outstanding in her Oscar winning THE DIVORCEE, and am happy to her you are going through those great pre-code sets! Some other prime goodies await you! As you subsequently note, THREE ON A MATCH is another splendid pre-coder, one I got to see a short time ago at the pre-code festival. Ms. Dvorak is quite good. Who can forget her as Muni’s sister in SCARFACE? Our friend Shubhajit at CINEMASCOPE has been exploring Imamura as of late as well, and I can only say he’s absolutely a vital diretor. I like PIGS AND BATTLESHIPS quite a bit and await your raction to wht Isee as his best film: THE INSECT WOMAN. And as to Mizaguchi? Oh boy. I sit here anxiously awaiting your summary report on both SANSHO THE BAILIFF and UGETSU, two of the greatest films of all-time. Your superb capsule on OSAKA ELEGY leads me to believe you will be singing his praises further! Many thanks for the well wishes Dave, and have a great week!
Thanks for the awesome mention Sam! Sounds like you had a really fun week! Lots of movies and pinball. Can’t beat that. Safety Last! is indeed a treat, and filled with lots of energy. I must admit I am not looking forward to the new Cronenberg film. I found last year’s A Dangerous Method to be flat and uninvolving, not to mention predictable. I have in fact liked but one film of his…..A History of Violence….which many people say is more of a mainstream film from Cronenberg. He is not my cup of tea though it would seem.
Well I watched A Separation this past week. Wow it’s a great film indeed. Reminds me of Italian Neorealism to an extent, particularly something like Bicycle Thieves….where characters are flawed, imperfect…rather real. There is an overall objective point of view that also allows us to gauge from a distance and not become too attached to one character. We are forced to understand them all. It’s brilliant stuff.
Up this week: Lonesome, A Night to Remember, The Driver, Les Diaboliques (re-watching). Should be a solid week! I know you well said that Lonesome was a masterpiece. I’m hoping for the same conclusion here! Have a great week Sam!
Jon—
We all figured we’d do as much as we can before the start of the new school year, which of coure is tomorrow fo the students. The pinball trip was a last-minute decision. I totally agree that there is enrgy to spare in SAFETY LAST, which is really the most identifiable Lloyd. Cronenberg has lways divided audience, and while I can say I like him more than you do and favor about half dozen of his films, there are other instances whereI do scratch my head, and COSMOPOLIS is one such instance. A HISTORY OF VIOLENCE is quite good, yes. Very happy to read this glowing assessment of A SEPARATION, which is certainly one of the great films of 2011. The comparison to neorealism is sound, methinks. My blu-ray of LONESOME just arrived today in fact. Iam banking on a glorious reacion from you Jon, but we’ll see. As to the others, especially that Cluozot masterpiece (and I love A NIGHT TO REMEMBER!) I’m sure you’ll be most impressed! But actually I know youdo love DIABOLIQUES as this is re-viewing. Have a great week my friend! Many thanks as always.
Sam –
I can just see the Juliano clan — smiles of delight — in Pinball Heaven! What a fun family adventure. I enjoyed the photo of Melanie and Danny. Melanie looks extremely intent on crushing her opponent — atta girl!
Your words, “…that physically chilled me as I sat in the theatre,” sent goosebumps up my arms. I’ll take a pass on UNE SI JOLIE PETITE PLAGE, thank you.
Make it a FANTASTIC school year!
Thanks so much Laurie!
Yes we did have a great time on Sunday night, and have come to realize that the arcade’s “family night” is a major bargain at $25.00 for seven people on free play for as long as your stamina can hold up! This was oddly enough our only appearance this summer at the seashore, and outside it was rather drizzly. But inside the flippers were going a mile a minute! Ha! Yep, Melanie was fit for battle! Yes, can’t deny UNE SI JOLIE is as dark a noir as has ever been made, and not to all tastes. Thanks for the well-wishes on the school year! We were just told after our opening meeting that our plans are no longer to be submitted in a written book as was the custom for decades, but rather on Real Time on the PC! This will crimp my style a bit! Ha!
Have a great week my friend! Many thanks!
Jamie—
The 3 of 5 star rating for PARANORMAN is hardly a stellar recommendation even by way of comparison. I’d say that neither of the two new releases I watched this past week is worth going out of your way to see, and PARANORMAN rates slightly higher because the physically unattractive animation is nonetheless creative. The “parasite” aspect is certainly one way to assess this, but I took it more as an innocuous fluff. I’ve seen far worse as far as this kind of thing goes, but again it’s virtues are very modest. As I say I will give COSMOPOLIS another go, and I do like Cronenberg quite a bit. SPIDER of the three you mention is for me superlative without question. In any case as always thanks for the frank and insightful interpretation and judgement.
I’m currently working on 30 Days of Film on my blog.
That’s great news Jeopardy Girl. I’ll be heading over there today!!!
I’ve always wanted to visit that pinball paradise. I hear it’s in the midst of Springsteen landmarks. Sounds like the French Old Wave Festival is rocking for you Sam.
Fred–
This was one case where the expectations were met! I strongly advise that you pay a visit there! The best deal is on Sunday.
Yes the French Old Wave Festival runs through the 13th. Thanks as always my friend! Have a very good year.
“ParaNorman” looks good as far as the quality of its animation goes– stop motion done well is always worth checking out. And though the story looks like its rummaging the same Amblin nostalgia bin that fueled “Super 8” and anyone who thinks “The Goonies” is a good movie, at least it’s better than the crap that Pixar usually shovels out with its pixie-dust finish. That being said, I haven’t been motivated to see it yet, and I expect Sam is the only one here who actually has so far. I’ll save my judgement for if and when I check it out myself.
Well, it all depends on whose ass is being tasted.
There was also that sequel to “The Fly” he’d written, one that sounded promising the more he ensured that it had little if anything to do with his original remake. Fox didn’t pick it up, and if it’s possible I’d be interested in seeing that script evolve sufficiently to detatch itself entirely from that franchise into its own beast, but even so there’s likely more interesting projects for him. Hopefully his “Knifeman” series with Tim Roth is still active (the premise sounds great, but if Cronenberg’s involvement only lasts as long as the pilot, I have doubts). If only “Red Cars” could be ressurected.
Sam, between you and Jamie I’ll have to figure out Cosmopolis for myself. Anyway, what do y’all make of the news from Venice? Depending on one’s loyalties, I suppose, old Malick has either surpassed himself again or really jumped the shark this time. They say To the Wonder has virtually no dialogue, like that’s a bad thing. The way Malick writes sometimes, I’d encourage him to go all the way and make a silent movie — he can use whatever music he likes. Kidding aside, I welcome experimentation, and in that spirit I watched the 1928 part-talkie Lonesome, which may be the nearest thing to an Abel Gance movie that came out of Hollywood. I’ll have more to say about it on the blog but for now I’ll say this is probably the only time the part-talkie format didn’t seem awkward, since Paul Fejos was trying every other device available to him. It’s often exhilarating but probably alienating as well for viewers less tolerant of experimentation for its own sake. As for me, I’m definitely looking forward to the other two films on the Criterion disc. It’s a great deal considering that they could have packaged this as an Eclipse set, done without extras altogether (there aren’t that many anyway) and charged at least ten bucks more for it.
Otherwise it was a Warren William weekend for me. Saw six of his movies, with Roy Del Ruth’s Employees’ Entrance probably the best of them and Robert Florey’s Bedside easily the worst. Del Ruth’s The Mind Reader and Bretherton/Keighley’s The Match King are pretty intense affairs, the latter really being a big-business equivalent to Warners’ gangster films. Oddly, I found William’s breakthrough role in the Flood/Nugent film The Mouthpiece relatively weak, though William is star-makingly strong in it — too many implausibilities in the story, really. William joins a number of Warners actors in Capra’s Lady for a Day, suggesting that the director saw no difference between the world of Warners and the world of Damon Runyon. He was wrong, of course, but the film is slick fun despite the Capracorn finish. Odd film out, coming post-Pre-Code, was James Whale’s Wives Under Suspicion, a remake of his own Kiss Before the Mirror a mere five years after the fact. Whale and William struggle to make more than a B movie out of it but this psychological courtroom thriller rings a little hollow in its too-neat finish. More on these later as well.
That leaves Renoir’s Elena and Her Men, a cute and colorful trifle, and Arnold Laven’s western The Glory Guys, scripted by Peckinpah, stolen by James Caan’s Cagneyesque performance, and sabotaged by casting Tom Tryon and Harve Presnell as romantic rivals for Senta Berger. But James Wong Howe photographed it so it looks real nice.
A Harold Lloyd festival sounds cool. I like other Lloyds better than Safety Last! but the climb is his ultimate set-piece. Movie Crazy definitely has its moments and it’s good to recall that if sound ultimately defeated Lloyd he went down fighting and got some solid shots in during the Thirties. If there’s more to come, may you enjoy it all.
Samuel—
Agreed that Criterion could have made more money by going the Eclipse route, but for collectors this is a real gem! (Mine arrived TODAY!) and a re-discovered masterpiece that deseves plcement on any ‘best of’ lists! The disc looks great, tough I only scanned it (I had seen it at the Film Forum just weeks ago) and like you I can’t wait to watch those other flms on it! I l also must side with you on that statement that for once the silent/talkie combination works! And in flying colors I’d add!
Of the Williams you saw, I liked THE MIND READER and EMPLOYEE’S ENTRANCE best, though I probably like THE MOUTHPIECE a bit more than you. I have not seen BESIDE, but your assessment doesn’t figure to change that! Ha! I do like that colorful Renoir, and agree Wong Howe saves THE GLORY GUYS.
Yes, the climb in SAFETY LAST is the ‘ultimate set piece’ for sure, though arguably THE KID BROTHER and THE FRESHMAN are at least s good, and maybe slightly head.
Still to come: Grandma’s Boy, Why Worry?, For Heaven’s Sake, The Freshman, Dr. Jack, Speedy, Girl Shy and The Kid Brother, all with the piano accompaniment. MOVIE CRAZY is Lloyd’s best talkie, methinks. Thanks as always my friend fo the fabulous wrap! Have a great week!
Nice Lloyd lineup coming up: Why Worry is gold and I remember enjoying For Heaven’s Sake a great deal. Most people rank McCarey’s Milky Way as his best talkie but I really like 1934’s The Cat’s Paw, where Lloyd transcends his “Harold” persona to play the sort of fish-out-of-water role (a Chinese-educated missionary’s son come to clean up a corrupt American city) that would be more common in movies decades later.
I don’t dislike The Mouthpiece but there were some big implausibilities in it that I’ll address when I get around to reviewing it sometime this week. You didn’t miss anything in Bedside; it took the Warren William formula past the breaking point. More on that later, too.
Samuel, I was always under the impression that MOVIE CRAZY was rated higher than THE MILKY WAY in the Lloyd talkie pantheon, and Allan stated the same by e mail to me yesterday, but I don’t question your findings either, and there are a few others too to muddy the water, including the one you name here, CAT’S PAW. I hear ya on THE MOUTHPIECE. And you have stoked my further excitement for the remaining Lloyd’s several of which I have seen, but never on the big screen.
That’s an arresting still from ‘Poil de Carotte’. I’d love a copy of this if possible.
Great the kids enjoyed their final moments in style down in Asbury Park before the new school years kicks in.
As far as the Yankees, I don’t think I’ll go there.
Have a wonderful school year Sam!
Frank–
Your wish is my command! You will surely adore the film too methinks. Thanks for the kind words on our mini-trip south. I wish you a great year as well, and yes, let’s no go there as far as the Yanks are concerned!
Sam,
Thanks again for the shout out! Sam! That’s quite a list on the French front, a lot of which i have not seen. The two Harold Lloyd films are gems. I would love to see them on the big screen someday/
On my own film front…
Lawless (****) Nothing more or less than an old fashion rural outlaw flick, in the tradition of Bonnie and Clyde, Dillinger and Machine Gun Kelly, with much more of today’s graphic violence . Guy Pearce is brilliantly over the top as the nasty Chicago lawman and Jessica Chastain is delicately sensual. The weakest link in the film is Shia La Beouf as Jack, the youngest brother. He is unbelievable and verges on annoying.
Black Hand (***1/2) If you can get past Gene Kelly as an Italian-American this little MGM gangster film is entertaining enough. Italian immigrants in New York’s turn of the century Little Italy are being blackmailed by the Black Hand under the threat of death if they don’t pay up or decide to go to the police. Johnny Columbo (Kelly) whose father was killed by Mafioso when he was young seeks vengeance on his father’s killers. The set design of the has a nice convincing feel of the crowded and congested conditions of the time.
Private Hell 36 (***) A solid if unexceptional cop thriller from director Don Siegel . Steve Cochran and Ida Lupino make for one of the most tawdry couples to grace the screen.
Cover Girl (***1/2) Decent enough musical. For me the highlight was the sequence where Gene Kelly dances with himself.
Lady For a Day (****) Charming Damon Runyon tale with the excellent May Robson as Apple Annie and dapper Warren Williams as Dave the Dude. Great supporting cast that includes Glenda Farrell, Guy Kibbee, Ned Sparks, Walter Connelly, Jean Parker and Nate Pendleton. The film is sweet without over doing the Capra corn and a few notches above the 1961 remake, POCKETFUL OF MIRACLES .
The Mouthpiece (****) An almost forgotten little gem starring William Williams as an ADA whose responsible for sending an innocent young man to the electric chair. Disillusioned, he quits and after feeling sorry for himself becomes a defense attorney for underworld characters manipulating the law in his clients favor. Williams is debonair, flamboyant, slimy, chews the scenery at times, but always entertaining.
The Whistler (***) First of seven films in the series based on an old time radio mystery program. Richard Dix stars as a man so despondent over the death of his wife he arranges for his own murder by hiring a hit man to kill him. When he finds out his wife is alive, he tries to cancel the contact but its not that easy. Short and entertaining. Directed by William Castle.
Paris Blues (***1/2)Martin Ritt’s tribute to Jazz and expatriate Americans living the outsider life in Paris. Here we have two of the early 1960’s coolest actors as musician’s hanging out in smoky cave like nightclubs jamming to cool music on the left bank, playing with the likes of the great Satchmo himself, Louis Armstrong. What get’s in the way of all this cool is the dull uncool love story.
John–
I see you watched the same Warren William retro as Samuel. Yes the famous “heel” is a chewer of scenery, but everthing else there applies. He’s quite excellent in THE MOUTHPIECE, a film I must argree with you on! I also would assign the same rating on Castle’s THE WHISTLER, though as you note it’s breezy and entertaining. I do like LADY FOR A DAY (which our friend R.D. Finch just reviewed at THE MOVIE PROJECTOR) and agree it’s better than the 1961 re-make. I’d go 3 on COVER GIRL but we’re close enough. I nearly saw LAWLESS over the weekend, but I may manage it over the coming week. Looks like on balanc you’ve rated it as solid. I’ve heard a few negatives, but it seems there’s a favorable majority, especially among those who appreciated the same diretor’s PROPOSITION. I have not seen PRIVATE HELL 36 nor PARIS BLUES, but appreciate the excellent capsules, and pretty much concur on BLACK HAND. Great to hear your enthusasiasm for the Lloyds and theFrench Old Wave! Have a great week my friend Many thanks as always!
I got to see Cosmopolis a couple days ago and….I hate to say it but it just didn’t work for me on the first viewing. Is that a bad thing? No. Cronenberg’s A Dangerous Method left me cold on a first viewing, but it lingered with me which made me actually look forward to a second viewing (the film actually ended up on my top ten list of last year because of those multiple viewings). The same could be sad of many of his masterpieces from the 90s, like Naked Lunch and Crash. Sadly it’s been a few days since I saw Cosmopolis, and there just isn’t a lingering feeling to revisit it. That doesn’t mean I wont, it just means it’ll be a while. It hurts because I really wanted to love the movie (the wonderfully topical subject matter as well as the beautifully crafted visuals that are compositional perfect), but couldn’t. I just preferred the style more than the substance.
Anu—
Delighted to see you at the Diary again, though I can well understand you’ve been busy. I am not surprised at what you say there about COSMOPOLIS. But the ‘first viewing’ disclaimer is sound, as that is pretty much the way it is with Cronenberg. Still I’m skeptical about this particular film’s chances on another go-around. It’s rather overwrought, but I’ll certainly give it another shot. I do agree wth you on A DANGEROUS MIND, which narrowly missed my own ten-best list. I think my own favorite Cronenbergs are DEAD RINGERS and SPIDERS, but there are several others I’d rate highly. Thanks again my friend! Have a great week!
Hello Sam and everyone!!!!
Wow, summer’s out and here winter’s fading out slowly (yesterday we had a pretty hot day and today we have one that even had cold mist in the morning, bipolar weather and global warming are to blame, ha!), and I love the visit you made to the pinball museum, as you know I’m a huge videogame fan, and I love the design and the overall structure of the pinball games, even though I’m not actually good at them, haha.
Myself, I had a good week, my project got chosen, so I get to write my feature lenght script and get it backed up by teachers and scholars from my university. So that’s that, I’m gonna work hard on that and have a great time. My uncle also came back from the US of A on a business trip to Miami, I told him if he ever needs to go to NY or NJ to take me with him, HA! Anyway, that’s all.
My week movie wise:
– The Brood (1979, David Cronenberg) ****1/2 Speaking of Cronenberg, ha! Anyway, I saw this film the other night and thought that it was so good that I wrote it up inmediatly for my 100 Days of Horror, featured in my blog.
– The Chase (2012, Tomas Vergara) ***1/2 A chilean short film made with 3D animation that is actually a small action sequence with a little bit of plot added to make it taste better. It’s being promoted and show in english in hopes for it to be noticed, but it’s actually a chilean production. I liked the visuals, but I hoped for more due to the over 10 minutes runtime.
– The Horror Show (1989, James Isaac, David Blyth) *** A horror film that was marketed as House III in some other markets, part of a mini-spotlight I did on the recently deceased american horror director James Isaac, part of my 100 Days of Horror.
– Voices of a Distant Star (2003, Makoto Shinkai) ****1/2 Anime short film directed by one of the new and most interesting anime voices of recent years. Visually, the film is a marvel, and this was all done and edited by a one man crew of Shinkai, it is quite an achievement in many ways, and the story is highly emotional and interesting, playing well with the science fiction elements put forward.
– The Orphan Killer (2011, Matt Farnsworth) *1/2 Ah, one thing I didn’t mention was that I went to one of these regular horror marathons that I usually go to, but I didn’t mention it mainly because I didn’t stay for long, au contraire other times, this time I only watched two films because I was accompanied by no one, so I felt bored. This is a modern slasher that is utter shit, violent for the sake of it and with the morality of a lemon. Violence must be well done for it to hit me, this one didn’t.
– City of the Living Dead (1980, Lucio Fulci) **** A deliciously moody piece made by the italian master of the zombie film, Lucio Fulci, filled with great and gory special effects, a strange and at times modern cinematography, certain greats strokes of good acting, impressive set pieces and disgusting all the way around. A complicated story about two parallel stories that meet near the end that is salvaged by the director in a great and impressive way. It is also very very entertaining at all times.
– Pig Hunt (2008, James Isaac) ***1/2 The best movie from this american horror director, it’s a homage to the earlier monster or nature goes wild movies with some humour, self references, some good acting, some bad acting, some cool set pieces and an overall disdain to give the audience what it wants: the big pig killing people. and it resorts to a parallel stories that incredibly works really well.
– The Punisher (2004, Jonathan Hensleigh) **1/2 I heard that this was bad, but I didn’t actually expect it to be this awful. This comic book adaptation is everything that you don’t need to do to make it appealing. It’s overlong and most of the time you are confused regarding the way the characters act and how they get ahold of their stuff. The acting is decent for the most part, but this movie needed tightening as opposed to adding footage (that’s what the director’s cut did) as this film may have had too much non-sense plot that must’ve been cut out for good. Nevertheless, the action sequences and fights were worth (to a extent) the pain.
– The Punisher: Dirty Laundry (2012, Phil Joanou) **** A sweet little short film following the same characters from the dreadful 2004 movie but making it worthwhile through well edited sequences, good fights, good coreography, a worthwhile message and some nice little tidbits and acting cameos that make it nice and one of the best things I’ve seen all year.
– Skinwalkers (2006, James Isaac) *** Penultimate film from James Isaac, this time a werewolf film that was reviewed at my blog just recently for the retrospective.
– Uncle Was a Vampire (1959, Steno) *** Italian comedy with horror elements and featuring Christopher Lee playing a vampire! I reviewed this for my 100 Days of Horror.
– Tokyo Godfathers (2003, Satoshi Kon, Shogo Furuya) ****1/2 I was on the brink of tears at many times during this highly emotional japanese animated film. My God, what a treat this was, one of the best anime films I’ve seen in my life, wonderfully animated, voice acted and with the great landscape of Tokyo to boot. This was a highly emotional yet convoluted story that mixes the elements of mystery and tearjerker drama in a nice way to make it interesting and delightful all the way through.
That’s all Sam. have a good week and good luck with work!
Jaimie—
I keep forgetting that it’s the last stage of winter down in Chile (as it is for Tony in Sydney) as it is with summer transforming into Fall up north. Heck it was 85 degrees today and unbearably humid. Thanks for the well wishes with work; things were a bit more stable today I must admit. Great to get those glowing words about the pinball visit, though I do know youare a big video game fan.
Ah that would really be fantastic if you were able to hitch a ride with your uncle if he is headed up here! You know I’d give you a guided tour!! Great to hear too that your project has been submitted, and best wishes on that! The feature length script is an auspicious project, but I well know you are up to the task my friend as there are few as tenacious as yourself.
Interesting that you watched several film by James Isaac! I’d definitely be interested in these (especilly PIG HUNT and SKINWALKERS) and I have seen Fulci’s CITY OF THE LIVING DEAD and own the DVD. I am not a big fan of the one-note Fulci, but I do like few of his films nd this is one of them. Nice review there! No fan of THE PUNISHER, and agree TOKYO GODFATHERS is impressive. THE BROOD is one of my favorite Cronenbergs, and I will definitely be checking out your review at EXODUS 8:2. My apologies fo flling behind on that remarkable project!
Again, I wish you a great weekend n coming week and smashing success my friend!
Sam,
Read DeLillo’s novel, it’s a slim volume, then revisit ‘Cosmopolis’. The casting of Pattinson feels like a sop to attract a wider audience, but the actor may have hidden depths — he’s stated in interviews that he’d like to work with Godard sometime! (does Packer have his limo ‘prousted’ — corklined — in the film?)
BTW, Terrence Malick’s ‘To the Wonder’ was booed at the Venice Festival, which may be good news for Malick acolytes — ‘The Tree of Life’ got the same rude treatment at Cannes last year.
I have stacks of DVDs from the Barnes & Noble half-off sale (incl. Godard’s divisive ‘Film Socialisme’), so I’ll be reloaded next week.
Later, my friend
Yes, it is indeed prousted. Pattinson strikes me as somewhat wooden in the film, but it fits both DeLillo’s prose and the thoroughly dehumanized yuppie role he’s playing (everyone else in the film fills out the author’s dialogue with a bit more panache than he does, probably purposefully). And hey, it’s not the first time I’ve appreciated wooden acting.
Why do critics boo anything, especially at festivals? Isn’t that a wee bit unprofessional?
Ah, “Film Socialisme”. I really have to watch that again now that there’s actual English subtitles on the DVD.
Booing = backlash. I doubt whether the critics boo the work of anyone who isn’t a major auteur or regarded as such. It’d be unprofessional at a critics’ screening but in Europe especially I suppose there’s that whole Rite of Spring heritage, an impulse to debunk innovation or perceived pretension. Malick himself wouldn’t be so hated if he wasn’t so loved. Love and hate are inevitable for his work, but I do agree that someone’s got to be objective, or at least detached about it all.
Mark: I never knew that about Pattinson! One would be shocked to hear of that Godard aspiration, but there you have it! Interesting that you have read DeLillo’s novel, and greatly look forward to your reaction to Cronenberg’s film! Yes I do believe myself that the booing of Malick’s film at Venice is really very GOOD news! Ha! I dislike FILM SOCILALISM as does Allan, but Jamie and Bob are big fans. Please let me know what you think my friend! And have a productive weekend!
Sam, that French Old Wave festival sounds fantastic. I have been thinking I’d like to see a lot more older French films, and as always am delving into Wonders’ archives for recommendations. This week at home I saw ‘French Cancan’, which I loved – the BFI blu-ray has a fantastic print and I was very interested in the hour-long behind-the-scenes documentary about Renoir.
Over the past week I also saw the Mizoguchi masterpiece ‘Sansho Dayu’, and two Gary Cooper films – best of the two was definitely ‘The Wedding Night’, a 1935 drama directed by King Vidor which I loved and found quite reminiscent of ‘Our Daily Bread’ in places. The other one was DeMille’s ‘North West Mounted Police’ which left me cold – although the Technicolor was very good to look at!
Thanks very much for the plug and wishing a great week to you and all.
Judy—
I do hope you get a chance to take in some of the French Old Wave gems, and I’ll be in e mail contact with you on this pursuit. Like you I LOVE French Can-Can, and own a French blu-ray with English subs that pre-dated the BFI. Yes, gorgeous! Thrilled that you watched SANSHO DAYU and can up with the definitive judgement! Sorry to say I have never seen either NORTH WEST MOUNTED POLICE nor that particular de Mille, but hope to at some point. Great comparison there of the former with Vidor’s film.
Thanks as always my very good friend and have a great weekend!
Sam thank you as always for pointing the way to Creative Potager and my paintings and photographs. It is true. Fall is on the way. With this I hope to again get into my regular routine of posting and reading other blogs such as Wonders in the Dark. It has been a grand Summer but Fall is my favourite time of year. All the best on your first full day with students today and I look forward to more frequent connecting in the months ahead.
Terrill—
As always thrilled to be comparing notes with you my friend! And like you I find the beauty of fall incomparable. It’s my favorite season for a host of reasons, but the changing of the leaves is really special. I know you had quite a burst of summer creativity on the painting front, and your sporadic work in progress posts were nonetheless breathtaking. Here’s to the best year ever Terrill, and it goes without saying we’ll be in close touch!
Thanks Sam for the mention, and apologies for the slight delay in getting around to replying. Life has been a tad on the hectic side, and so I’ve been a bit slow on the virtual front – except probably as far as updating my blog goes for which I try to take out some time whenever possible.
Great to read about your attending the film festivals on “French Old Wave” (a cheeky term I must say), and on Harold Lloyd. Unfortunately, I’m yet to see any of Lloyd’s films. Safety Last could perhaps be a good place to begin with, given your high praise of it (if I’m not wrong, its also possibly his most iconic work).
Anyway, here’s what I’ve managed to watch this past week:
– Chabrol’s This Man Must Die (which of course you’ve already noted)
– Ophul’s Madame de…, which is most certainly a nice & elegant film, but, in my opinion, not the masterpiece it is made out to be (over-reliance on coincidences, and the sentimentality factor borders on the saccharine)
– Chris Marker’s pathbreaking short La Jetee
– Bresson’s Pickpocket, which again, I had slightly mixed feeling about with regards to its status as a masterpiece – its, of course, a very nice film for sure
– The brilliant Antonioni masterpiece La Notte, which I loved more than L’Avventura (I’m yet to see his La Eclisse though, which I plan to watch soon)
– Godard’s breezy & iconoclastic early period great Vivre Sa Vie
Shubhajit—
Believe me I can completely understand. This has really been a week from hell for some others, myself included, and you worked miracles keeping your blog as busy as you have for long. I have been tied up to the point where I have been unable to finish the responses to the Diary on time though last night I was making marathon headway on a revered HBO television series. I am sneaking in this answer to you now, while my 6th graders in this room are working on the time-worn “What did you do over the summer?” composition! Yes agreed that the Old Wave title is rather cheesy, and I do strongly advice the launching of Lloyd with the ever-beloved SAFETY LAST. I do rather like that one Godard, and as you may know I consider both PICKPOCKET and L’AVENTURA masterpieces. Same for the Marker and Ophuls, but nice to get an alternate assessment from you on the latter.
Have a great weekend my friend, anbd thanks as always for the fabulous report!
Sam, I apologize for the terribly late reply.
A bunch of things you mention here that I really want to see, including the Allegret, the Duvivier, and all the Lloyd flicks. I can’t wait to track all these down.
It’s been an unusually couple of weeks for me so no movies seen but that will change here very, very soon!
Thanks so much, Sam, for all that you do! Hope all is great.