Ed Koch, celebrated New York City Mayor from 1977 to 1989
by Sam Juliano
Ed Koch. New York City’s former Mayor was a larger than life personality who led the Big Apple at a crucial time of social and economic upheaval. He died on Friday, but left behind a legacy that firmly implants him as one of the most unforgettable, combative and colorful figures to ever take up residence in Gracie Mansion. Koch was an original. He never minced words, was unapologetic, was in possession of an oversized ego, but was still as compassionate any any elected office holder, and was a Renaissance man to the core. Never content to sit on the laurels of his political life, the outspoken figure was a film and theater critic, and once hosted an At the Movies show, and posted film reviews for New York newspapers. A fervent food lover in a city that boasts some of the world’s finest restaurants, Koch was the strangest of political hybrids: he was a social liberal in a city that could have it no other way, yet he was fiercely independent and a moral and fiscal conservative who sometimes operated as the conscience of a city too often stung by political corruption. He was a man of the streets, always preferring to see his movies in public theaters than in the screening rooms he was always privy to and Lucille and I have noticed him sitting in theaters we have attended over the years, just recently he was sitting in the lobby of the Angelika Film Center, looking frail and bearing a cane, waiting like us to take in The Best Exotic Marigold Hotel on a Saturday evening back in the fall. Broadway Bob and his mother Stefania, who had accompanied us to the theater, pointed him out sitting alone, the always vibrant Mrs. Eagleson approached him and declared “You can be my Mayor anytime!’ Koch smiled broadly, and no doubt had received such glowing recognition and appreciation through most of his time in the public eye, and afterwards, when few could ever forget him.
My own best memories of Koch date back to his first campaign for New York Mayor back in late 1976, when he began his quest by running in a four man field that included then Mayor Abraham Beame and eventual New York Governor Mario Cuomo. I followed the election closely at the time, listening to talk shows for hours during my two year stint as weekend (midnight shift) security guard in a work trailer adjacent to the construction of a Hudson River hospital in Edgewater, New Jersey. It was the time of the ‘Son of Sam’ terror, and sitting alone on the darkened riverfront, I was watching my own back uneasily. Koch was a favorite of Woody Allen, and a sometimes adversary of Spike Lee, who satirized the Mayor’s famed tag-line “How Am I Doing” in his 1989 Do the Right Thing. Koch was only “too willing” to tell people what they thought as when he was often queried about his sexual orientation, which was never really confirmed one way or the other, though the media always suggested he was probably gay. Koch’s patented response: “F **k off. There are still things in this world that should remain private. He was bold in voicing his opinions on every aspect of New York life and on the national scene. In his later years he was a Democrat, but always with a strict moral code, and with no tolerance for corruption or fiscal mismanagement. Ironically, he passed away at age 88 on Friday morning, on the very same day that the new documentary on him released, a documentary I saw at his beloved Angelika, and one I will talk about more (below). R.I.P. Ed Koch.
Dennis Polifroni and I will be sitting at a local diner later this week to discuss the Oscar nominations in front of Jason Giampietro’s camera in what has now become an annual routine. As always, my position on the ultimate worthlessness of the Oscars has not wavered (even with last year’s rightful coronation of THE ARTIST in that rare instance where they got the main category called correctly) but it is a fun game to speculate on how the politics will play out, since it at least serves as a springboard for discussing films. Discussion is a-buzzing after Ben Affleck won the DGA on Saturday, with many now predicting Argo will take home the night’s big prize.
Just finished watching the Baltimore Ravens-San Francisco 49ers Super Bowl, and must say it was exciting right down to the final play. Won by the Ravens, the game is sure to have people talking for quite some time, especially a late game non-call on defensive holding that doomed the gang from San Fran on their final possession as they approached the goal line. But a kickoff return and a great passing game by both sides made for an entertaining contest. Lucille and I watched the game at a local Applebees with good friends Tony Lucibello and Ralph Jones. It was moving to see and hear the Sandy Hook Choir sing “America the Beautiful” at halftime with Jennbifer Hudson.
A candle remains lit for Sandy Hook Elementary School and for the young lives and valiant educators lost during the tragic event of mid-December, but it has now been moved to the sidebar for stationary vigil and maximum visibility. The suggestion was made by Allan Fish, who from day one has been deeply affected by the terrible event (Allan chose the banner and sent it on to me by e mail in fact) and was technically negotiated by Tony d’Ambra who once again provided the site with his invaluable technical assistance. I will still utilize the diary proper to post anything else I feel vital about Newtown as we move forward.
Lucille and I (and the kids for some) saw the following this past week:
Koch **** (Friday night) Angelika Film Center
The Pirogue *** 1/2 (Wednesday night) Film Forum
Warm Bodies * 1/2 (Saturday night) Secaucus mutiplex
I Was Born But (1932) ***** (Sunday afternoon) Film Forum
The new documentary KOCH examined the colorful New York Mayor’s early rise to political prominence, but mainly his 12 years in Gracie Mansion, a time he ran the Big Apple like a deli counterman. The AIDS crisis, the broken hospital system, racial tensions, the drug epidemic and the rise of homelessness all marked Koch’s long tenure, and as seen addressing crowds and the media the pugnacious orator was never one to mince words, a fact that even his political adversary Al Sharpton admitted when addressing the former mayor’s passing: “I disagreed with him on many issues, but he was never a phony or a hypocrite. He said what he meant and he meant what he said.” A highlight of director Barclay’s film comes on the 2010 election night when Andrew Cuomo won the New York gubernatorial race. Koch is seen surrounded by adoring well-wishers, but at evening’s end goes home alone. Koch was a passionate movie lover, but Barclay says little on this aspect of the figure’s post-mayor life and vocational, only interviewing Koch on his political positions. The larger-than-life, egocentric but lovable Koch was as pleased as pink when the Queensboro Bridge was named after him, and was in good humor when he toured the cemetery where his tombstone awaited him. Typically, he spoke as if he would be enjoying the Manhattan location during the afterlife. KOCH is an engaging, affectionate look at an irrepressible figure who was a quintessential New Yorker to the last bone.
WARM BODIES is a largely insipid and tedious modern horror tale that incorporates “Zombieland” and “28 Days After”, and despite an impressive turn from Nicholas Hoult the film is multiplex fodder at it’s most forgettable. I’m still trying to figure out how I wound up in the theater to see this. Yet I see the reviews are solid. Go figure. THE PIROGUE is for the most part a gripping drama of a seven day voyage from Senegal to Spain that involves a band of Africans willing to risk everything to reach Europe. A spirited Sengalese score further enlivens the proceedings and helps to mitigate the unavoidable claustrophobia. Ozu’s 1932 I WAS BORN BUT was offered up as part of the Sunday morning “Film Forum Jr.” series. At its heart this great work of the silent cinema is an elegy to the lost innocence of youth, that informs a clash between idealism and the more sobering realities of the adult world. This is a them that Ozu examined throughout his career, but the stylistic template was set in this early film, with its eschewing of fade outs and fade ins, and a general simplification of the film grammar. His trademark low angle shots capturing the private scenes of domestic life, and the employment of the internal dynamics of the family unit to draw out broad generalizations about society as a whole are again brought to the table, and there’s a universality underpinning to the seeming innocuous youthful behavior on display here that in effect is a playing out of the life cycle. If it qualifies as soap opera, then it’s soap opera of an exceedingly profound level, that unearths a number of truths. This is one of the greatest films of the silent cinema, and the first truly great films by one of the greatest directors (and its foremost adherent of humanism) of all-time.
I have now seen 11 of the 15 episodes on the stupendous THE STORY OF FILM by Mark Cousins. I have four more to go now.
With Super Bowl weekend eating up the time already spoken for in large measure by the various viewings, I had to abandon the links for this week. A new batch will be up next time.
Sandy Hook Choir and Jennifer Hudson at Super Bowl
Sammy, Jeremy and Danny at Sunday’s “Film Forum Jr.” screening of Ozu’s “I Was Born..But” and Little Rascals episode “Mail and Female”
Screen cap from “The Pirogue”
Sam, what a wonderful tribute for Ed Koch. Thanks for sharing your words and personal stories. It feels like a cosmic event that he passed away the day his documentary came out as if he decided to shed his physical body in exchange to live in spirit in the same cinema that he loved. I do hope I get to see this film soon.
I missed most of the game especially after the long stoppage but had a feeling it might cause a shift in momentum. Looks like it almost did. I have not heard about The Pirogue but feel this is a film I will relish. But in no hurry to see Warm Bodies.
I started viewing HOUSE OF CARDS and enjoyed the first few episodes quite a bit. Curious to see if the remaining episodes are on the same wavelength. But Kevin Spacey is quite in form from what I have seen so far.
Sachin—
I much appreciate the kind and enthusiastic words. Koch was one of the most visible of all NYC’s celebrities, and he insisted on mixing in with the public when he ate or watched movies. I like that ‘cosmic event’ framing! It does need precisely that with the uncanny timing. I would think the documentary will be making the rounds, and I hope to be able to compare notes with you! The Super Bowl did indeed shift after the power outage, but as you know the Ravens held on. I am sure you will have good things to say about THE PIROGUE. I haven’t yet heard any reports on HOUSE OF CARDS, but am happy to hear your favorable response. I hope to get to it at some point. Thanks as always my great friend!
It was fun to read your comments about Koch, who I indeed remember as a colorful figure (and about whom I privately shared an anecdote with you). Have you heard about the 1-hour documentary that aired a couple of nights ago, on Turner Classic Movies, commemorating the 90th anniversary of Warner Bros. pictures? It was quite good, loaded with interviews and interesting info over the years about the history of the lot, the founders, the stars and people behind the scenes. Great viewing.
I look forward to your annual Oscar video. The DGA outcome didn’t surprise me but I won’t be convinced that Argo will likely take best picture unless it’s screenplay wins the WGA (which it could). Any way one looks at it, this awards years is just a bit bizarre. The next most interesting category is best actress, where one of the youngest nominees ever – the burgeoning Jennifer Lawrence – seems to have the most formidable competition from the oldest nominees ever – Emmanuelle Riva, whose performance I prefer.
Pierre—
I do indeed recall your shared anecdote! The New York newspapers, liberal and conservative are pretty much honoring him with quite a bit of reverence. His personality made it tough to really dislike him, unless one was personally affected adversely by his policies. I would love to see that documentary in fact, and will investigate the re-airing possibilities. But yeah it does sound great! Yep the interview is tentatively set to roll on Wednesday night at a local diner. I have apparently fallen for your WGA argument and have argued it as if it were my own idea, so persuasive is the assessment!!! Ha! Seems like some at AD are so jolted by all the ARGO wins that they are now thinking Kushner will lose the WGA to Terrio. Of course if that unlikely scenario were to unfold there would be no question at all about the Best Picture outcome. But even if Kushner wins, the race could still be won by ARGO. But as I say I am thinking in your terms at present. There would be no better choice than Riva (I agree with you completely on this!) but I also prefer Watts and Chastain to JLaw, but as you say she is on a roll. Thanks as always my friend!
My WGA argument is coupled with my interpretation of SAG’s preference for the Argo ensemble along with the “Streep factor.” I simply suspect that people have been reading it wrong. If I’m wrong (I mean if YOU’RE wrong, in which case I’ll insist that it was YOUR theory all along!), the WGA will give us the hint.
LOL Pierre!!!!!! I will picking up Jason and Dennis in about two hours for the Oscar talk at the Boulevard Diner. My son Sammy, who saw 6 of the 9 Best Picture nominees will be attending.
I hope Sammy’s opinions are memorialized in the resulting video clip.
Just got back Pierre! Sammy made his own Best Picture prediction on the video and read off his own Top 10 list for the year!!! He did a nice job on both, I must say.
I can’t wait to see it!
Sam – I appreciate your affection for the former mayor. There are certain public figures, no matter what they do, who will always have the hearts of the people. All I can say is that I read City for Sale, and it does not paint a flattering view of Koch or his level of honesty. Nonetheless, I wish him well wherever he is now.
I had a memorable last weekend in January with a trip to San Francisco to attend Noir City 11. Pre-festival, I phoned Gun Crazy star Peggy Cummins at her home in London to do a short interview for Fandor. Then I had a chance to meet her in person at the Castro Theater, where she was the special, opening-night guest. The following day was a real highlight for me, the premiere of the restored Try and Get Me! (aka, the Sound of Fury), with was the project of the 2011 Film Preservation Blogathon. It was absolutely magnificent, and blogathoners should be very proud of their part in bringing it back to life! A final film at Noir City, Repeat Performance, was ruined by the too-sweet Joan Leslie in the title role, but it was also a restoration project that looked marvelous.
Marilyn—
I quite agree with you when you say: “There are certain public figures, no matter what they do, who will always have the heart of the people.” Obviously Koch is one such person, I did read CITY FOR SALE, and it does not paint a flattering picture. But you almost must question the agenda of a reporter who is detail crazed to a fault. The fact is Koch was the one survivor of his administration-gone-corrupt, and to this day there are those who will stand by his integrity even while Donald Manes and others fell by the wayside. Even with the parking violations scandal and woeful indifference to the AIDS epidemic, Koch nearly beat Dinkins in that 1989 primary that would have probably given the incumbent a fourth term. Newfield of course had his own agenda, as has been also established. Koch was a politician, and acted like one, yet when his worst vocal enemy of them all, the Rev. Al Sharpton claims the ex-Mayor was no phony or hypocrite, you must acknowledge there was a persuasive level of conviction. But yes, if we also put the magnifying glass on LaGuardia, Wagner, Lindsay, Beame, Dinkins, and Guiliani we will find a pattern of deception. It comes with the turf. Koch’s appeal was as a mayor who dabbled in New York City’s culture and nightlife, and wore his sensibilities on his sleeve. Flawed for sure, like his predecessors and sucessors, but special and incomparable.
I do envy that trip to San Fran and the dialogue you had with Peggy Cummins! Fantastic! And a visit to the Castro is a major event. Yes the day SOUND was screened had to make you happy and proud, as it was the subject of the blogothon. Great to hear the print was gorgeous, and hope to see it on an upcoming blu-ray! And then REPEAT PERFORMANCE to boot! You well deserved that trip west Marilyn, and so thrilling to hear it was a smash! Thanks as always my friend!
Sam -
What a lovely, heartfelt tribute to the late Mayor Koch. I didn’t realize until I read it in his obituaries what a passionate film lover he was. As a midwesterner, I didn’t really know or remember that much about him (and the recent Ken Burns film on the Central Park Five didn’t show him in a particularly flattering light), so it is nice to read remembrances like these.
The Ozu film sounds good – I recall the clips from I WAS BORN BUT… in the Cousins documentary series.
Here in snow-covered chicagoland, I have been taking a break from movies. For some time now, I have been pondering whether to change the focus of my seldom-updated blog or just to shut it down altogether. I don’t seem to be very motivated to write anymore and feel I don’t have anything interesting left to say. Plus I felt an inordinate amount of anxiety about catching up with the 2012 releases, so much that I felt it was getting out of sane proportion. So I thought I’d try an experiment and ask myself “What if I weren’t a movie bloger anymore? What would I do and watch and how would I spend my time if I had no obligation to keep up with latest in cinema?” So I’ve been reading novels again (currently Juliet Gray’s BECOMING MARIE ANTOINETTE, a vividly detailed and engaging historical fiction),catching up with the entire run of DOWNTON ABBEY (a ridiculously plotted soap opera, but so addictive!) cooking a lot, lining up home projects and catching up with my beloved Indiana University Hoosiers who defeated the #1-ranked Michigan in an exciting basketball game on Saturday. The only films I watched were THE FARMER”S DAUGHTER on TCM (Loretta Young got an Oscar for that??? Incredible! Marlon called it “cute” and that about sums it up.) and GROUNDHOG DAY for the umpteenth, still enjoyable time.
Perhaps I will document this “experiment” at my blog, but till then, I wish you and everyone here at WITD a good week. (And whatever I do, I’ll still be on the comment threads.)
Loretta Young got an Oscar for that??? Incredible!
Yes, Pat, it is. And everyone at the time was dumbfounded, most of all Young herself, when her name was announced. Many regard her win as the biggest upset in Oscar history. Although you may know the details, I’ll recount them: Rosalind Russell was the heavy favorite to win for her role as Lavinia in the film version of O’Neill’s “Mourning Becomes Electra.” Because those behind the film knew it would be a hard sell, they hired what were considered expert publicists to ensure a nomination and win for Russell. This even included the first of Daily Variety’s many Oscar polls, in which 5% of Academy voters were interviewed and the results — a victory for Russell — were published. The publicists also convinced Las Vegas oddsmakers to publish their odds — Russell, of course. Problem was, the film was long (3 hours) and typically dreary O’Neill (to the extent that the film was edited down by 1 hour after the Oscars for rerelease).
Meantime, not only was Loretta Young cast as the lead in The Farmer’s Daughter but also was enjoying goodwill, not to mention good publicity,
because of her role in The Bishop’s Wife, also a best-film nominee that year. Word was that studio politics played a role as this film was preferred over Farmer’s Daughter by studio head Dore Schary.
On the night of the awards as the best actress winner was announced, Russell was seen to actually start rising from her seat until she realized her name hadn’t been called. When Young rushed to the stage, she made the presenter (Fredric March) show her the contents of the envelope before she would believe she’d actually won.
Correction:
Word was that studio politics played a role as [The Bishop's Wife] was preferred over [Mourning Becomes Electra] by studio head Dore Schary.
That’s an interesting story, thanks for sharing it. I didn’t know all those details, but I do vaguely recall reading somewhere that Russell’s win for MOURNING BECOMES ELECTRA was a foregone conclusion until Young’s name was called.
Love the detailed description of Young’s shocking win over Russell, one I do not personally endorse either! Young’s performance was spirited but strictly lightweight, which Russell was intense. Shame she never got to walk up to the podium during her career. Anyway I loved that Young made March show her the contents of the envelope, and on a negative note, I have to laugh at the “campaign” for Russell. Though we know this is what Oscar is all about, it really is dire and nearly spoils the fun we have trying to figure things out.
Pat— I am sorry to hear you have reached a crossroads as far as DOODAD KIND OF TOWN is concerned, but the issues you bring to the table would have me making a firm decision as well. I have always said that when the site intrudes on the schedule and in some measure becomes a chore well then we must re-evaluate things. Whatever you decide on you know I am with you 100%. And should you desire to write in spurts in some capacity I think you already know we would do cartwheels here at WitD if you chose this place to display it!!! I will say that you are wrong on one count though. You writing always yields much worth and interest to your readers. This past year you have featured some excellent reviews and round-ups, and the Sandy Hook report was very moving. You have a singular voice, and losing it will be a bummer, even if you do continue blogging elsewhere.
Thanks for the lovely words about my tribute to Koch. Yes it is quite true that he took a hit in Burns’ documentary much as he did in the CITY FOR SALE volume that Marilyn mentioned (above). Wholesale corruption brought down many of his cronies in the late 80′s, and some will still say it’s a miracle he survived it all and actually got to run for a fourth term unsuccessfully.
I have heard about all the snow in Chicago and in the mid-west in general. Jon attests to much of the same in his submission here as well.
Ah yes the Hoosiers. You’ve had them for many years and are right to be proud of them. They are class, and one of basketball’s continuing dynasties. And we even have the movie HOOSIERS. Cooking and reading are other wonderful pursuits as well, and you always manage some quality traveling time too! Agreed with you and Marlon on FARMER’S DAUGHTER as fun but rather forgettable and GROUNDHOG DAY as a keeper.
Thanks as always my friend, and have a wonderful week, especially if the snow is not as much of an issue. Ugh.
Hello Sam and everyone!
I was a bit absent past week because I had a lot of work past week during the work days and then since Friday I was out of town in Tongoy! A little seaside town in the north of Chile, a usual place of vacation for me and my family, but since I had to go back to work I just stayed until Sunday, I spent the whole night travelling back to Santiago in a bus so I’ll get on time, but that’s life and I’m sure you do understand these hurries.
Of the movies you mention, I’ve seen “I Was Born But…” and it’s among my favorites of the master Ozu with a rating of ****1/2, a nice silent comedy with impressive child performances. A great one indeed.
Since I was working and out of the city, I didn’t see many movies, but I did see a couple:
- The ABCs of Death (2012, Various Directors) ***1/2 A collaboration among different horror directors, both young and international, giving us a great array of short films, each one manifested under one letter of the alphabet. There are many that are lackluster, and others that are truly good, other are alright, while others are just horrendous in their execution. Among the best directors in the mix are Vigalondo, the duo behind Amer and all the japanese directors that did the silliest and most entertaining gratuituous short films of the bunch.
- Syndey (a.k.a. Hard Eight) (1996, Paul Thomas Anderson) ****1/2 What a great filmmaking debut, the first twenty minutes of this movie are tight, great acting, great editing and shooting style, it reminded me a lot of the early Tarantino films in the way that the characters speak and at the same time the world in which they were immersed, also, of course, the inclusion of Samuel L. Jackson in one of his best roles ever makes it even a bigger hit. He would go on to make the masterpieces that are Magnolia, Boogie Nights and There Will Be Blood, we shall see about The Master.
Thanks Sam, have a good week!
Jaimie—
I do indeed know of the fast lane and hectic activity, and you have maintained this torrid schedule for quite some time now. But heck, you are young, energetic and passionate, and at this stage in your life it’s a piece of cake no? Ha! The vacation hideaway sounds like a place to see (ah one day!) and happy to see you made good doing everything you intended to this past week. This was the most pared back movie week you have ever posted in the nearly three years you have regularly contributed to the MMD. Wow. But I say you need a few breaks here and there. I have not seen the ABC’s of Death, but based on what you say this omnibus does yield at least a few worth checking out! I am in full agreement with you on HARD EIGHT, which is absolutely one of my favorite Paul Thomas Anderson films. For me it was Phillip Baker Hall who really came away with the acting honors in that one. But brilliance all around. I do indeed know you have always loved I WAS BORN BUT. Kudos to you my friend. And thanks as always. I know you will be quickening the pace this week, buttry and employ some moderation. Ha!
Fantastic remembrances of Mayor Ed Koch and a terrific review of the documentary on him. How bizarre is it that he left the world on the very same day that the film released in theaters. Sam, I also thought he was larger than life. And just what the city needed at a time of civic unrest. I agree he was a moderate, but later in life he slanted liberal. I always knew he was a big movie guy, and I am not surprised he was spotted repeatedly around town. Another diary from the heart.
That Super Bowl power outage nearly gave the title to the 49ers.
Peter, I was expecting that final 49er drive to hit paydirt. The obvious defensive holding infraction was ignored by the refs. No joy in San Fran today.
Peter—
It is more than bizarre that Koch checked out on the very day the film premiered to the public! New Yorkers were indeed looking for a tough candidate at that time, and Koch had people enthralled with his earthy mannerisms and oratory. He supported Democratic AND Republican candidates through his career, conservative on some issues, liberal on others. His love for movies was always thrilling. He once said in 1989 after seeing CINEMA PARADISO that it was “the best movie I saw in 20 years.” he was of course a hyperbole guy, but his reviews were very well-written and reasoned. He was also a passionate guitar guy.
Well, I am not so sure the outage would have decided the outcome, as the lights went out for both sides. Ha! Thanks so much my friend!
Sam!
Hope all is well with you. Thanks for sharing your remembrances of Koch. I didn’t know much about the man, but you gave a very nice recap of his career. We have been getting pounded with lake effect snow the last 2 weeks so every day is a driving nightmare! Sheesh! Over a foot since last week Monday and it’s still coming. We actually have had a very light winter as far as snow goes, so it’s probably good for the spring crops that we’re getting snow finally. I’m sure the farmers are enjoying this as it will help alleviate the drought ratings.
Let me just say, I am completely in shock the DGA would give their award to Affleck. I feel like I’ve dropped into a bizarro world, where we give our highest awards to mediocrity. Seriously. I think Argo is a rather pedestrian and very typical Hollywood film. It has literally NO nuance and NOTHING unique or interesting to say. It presents the middle east conflict as a way of peddling the idea of perfect heroism, of presenting bumbling/angry Iranians as faceless caricatures, and then of course the happy ending where Daddy gets to be with his boy, as if the film earned such melodrama. It’s pure entertainment that is manufactured for audience payoff. That’s it. I usually want more out of films than entertainment though. It is the kind of film that is forgotten within a year. Anyone with any inkling toward cinema as an avenue for expression and voice should be decrying the fact that Argo continues to pull in awards. Not that it matters……but must our awarding bodies continue to embarrass themselves through their choices? Must we continue to honor the average?
In order to achieve a bit of balance in my life, I have backed off a bit on movie watching. I only watched 4 films last week.
Anna Karenina (2012)- Interesting take and visually arresting, but unfortunately, doesn’t leave much impact emotionally or otherwise. It’s more of a curio piece if you ask me. I love the Greta Garbo version, but I pretty much love any movie with Garbo in it.
Lawless- Unnecessarily over-violent and completely forgettable.
The Imposter- Great film. Completely entrancing documentary and not sure what you thought of it, but I found the story to be engrossing and loved the trajectory of the film and the pacing. Of course truth here is stranger than any fiction film could come up with. It’s just so bizarre and strange and yet somehow believable. I didn’t quite rate it at the highest rating, as sometimes I didn’t always appreciate the “recreation” scenes, but that’s a small quibble I suppose. It’s still one of the best films of 2012.
Looper- Recalls Blade Runner, Back to the Future, and Inception…..yet isn’t as good as any of them. A letdown….creates no real drive or chemistry or interest.
Up this week…..Hands Over the City, Arbitrage, and Borzage’s A Farewell to Arms. Have a great week Sam.
Oh yes and definitely looking forward to seeing the Oscar video! It will be fun as usual!
Jon—
Thanks very much for the generous words. Koch was certainly a political icon, and it’s telling that President Clinton, both Cuomos, Governor Pitaki and all the former and present mayors (Dinkins, Guiliani, Bloomberg) attended his funeral yesterday, with Clinton delivering an emotional charged eulogy. Oh he was loved warts and all, and most consider him NYC’s “quintessential mayor.” Jon, it is true that only the farmers will appreciate the heavy snowfalls you guys have been receiving this winter! On the other hand we have escaped nearly all of it this season, but I won’t say that too loud! Sorry you’ve had to endure such a tough time of it though. it’s never fun, unless you are 11 and like to throw snowballs. Ha!
I have defended ARGO on these threads as an exceptionally well-crafted film, and I can’t argue with it’s various nominations and awards. But you are ABSOLUTELY right in that there is no way this film merits BEST PICTURE from anyone, and it’s present streak is disheartening. it does appear that the voting members of AMPAS are now tilting in that direction, but should we really be surprised? At least last year when the Oscars went heavy for THE ARTIST, they were simply confirming what dozens of film critics groups around had been doing. This year the critics and audence did not think ARGO was tops, but there is quite a bit of political clout in teh Academy courtesy of Affleck and Clooney, certainly as much as that wielded by Harvey Weinstein. Here are the films that are up for the Best Picture Oscar that in my opinion are BETTER than ARGO:
The Life of Pi
Les Miserables
Lincoln
Zero Dark Thirty
Amour
So in the end I must agree with what you are saying here, and you bring up some great points.
While I like LOOPER more than you do, I do completely agree on ANNA KARENINA and LAWLESS, but I really need to see THE IMPOSTER ASAP. Maurizio too has really been touting that one.
Stay clear of the white stuff my friend and have a memorable week!
Yes Sam, The Imposter is quite something. I do really recommend you check it out, as it’s on DVD right now already.
Jon, I am right now inserting it to my netflix queue. Thank you!
My impression about Lincoln’s box office success is that its audience skews older (e.g., baby boomer generation and up), more educated and therefore a bit more affluent, perhaps, than general audiences. All these characteristics would seem to complement nicely with demographics of AMPAS membership — moreso, I venture to guess, than when compared with those of the BFCA, HFPA, SAG, PGA and even the DGA. I remember brief mentions of Argo on this site when it was released — expressions of pleasure about the film (me included). But I do agree that there’s a clear limit as to the amount of praise the film merits.
Yes and Argo has gained quite a bit of praise….getting “best of 2012″ honors from a few people…..Ebert and USA Today. I just find it rather shocking, that a film played so down the middle can get such high praise. I mean it was slick and entertaining I suppose, but that’s par for the course with that sort of thing, right? It’s just the kind of film that is easily forgotten IMO.
Yes Koch was an original – one of a kind. Again you impart your passion to an era that ushered in permanent changes on the cityscape. Koch loved life, lived it to the fullest, and did things his own way. No wonder even his adversaries are issuing high praise for him now. The documentary looks great, and I’m hoping it makes the rounds.
Thanks very much Frank! Koch was mayor during a time of change and crisis. The AIDS epidemic was at it’s peak and critics say the Mayor handled it incompetently. He was a 24 hour mayor, but he didn’t please everybody needless to say. Still, what you say there is irrefutable. I’ll keep you abreast on the documentary. Have a great week my friend!
Sam, up here in Albany we’re waiting for Amour to arrive on the 8th. After seeing that I’ll feel somewhat competent to make a call on 2012′s best films. While I wait, I checked out a past Oscar winner, Alfred E. Green’s Disraeli, which shows how early the Academy acquired its fascination with biopics. It takes an effort to see what people saw (or more likely hear what they heard) in Mr. George Arliss’s winning performance, and I find it ironic that Warner Bros. advanced him as a model of what sound film should showcase when the studio would refute itself very shortly by becoming the home of Cagney, Robinson, et al. The story and star are corny, but at least Arliss was capable of a degree of modulation from the bombastic to the conversational that must have fascinated folks back in ’29. Also took a look at Why Does Herr R Run Amok? and have just reviewed it on my blog. it’s one of those films that’s a theoretical trap for the audience, as if trying to implicate them in the title character’s belated rampage, but it begs the question whether the suffocating banality that drives R to run amok is really in the eye of the beholder or not. On my commutes I’m in the middle of The Serpent’s Egg, which somehow makes Woody Allen’s Shadows and Fog more understandable — Allen was just emulating his master Bergman, as was often the case, in making a misguided pastiche of Weimar cinema. More on that when I finally finish the film.
Samuel—
I completely agree that you need to see AMOUR before forging ahead on the comprehensive 2012 wrap. I feel guilty for not have that film in my top ten. I know it was a mistake to leave it off, but as ever I was governed by e motions. Yes the film is brilliantly acted and deeply felt, and I greatly respect Haneke, but it was so depressing that I questioned myself if I would ever have the motivation to watch it a second time. I am rooting for Riva to win the Oscar, even while holding out little hope for such an upset win. But it matters not as she has attracted wide acclaim for her work here,much as Trintignant has. I am thinking how your list will go. If I had to bet I would say THE MASTER is tops for you this year, but beyond that it’s a tough call. Yes, Arliss’ performance is dictionary definition dated, and one of the last of a style that dissipated shortly after that as you yourself mention with the advent of Cagney and Robinson. At least Laughton’s work in HENRY VIII was fueled by an incomparable charisma. I would love to see what you say on HERR AMOK and will be over to MONDO 70! Well, I am a huge Bergman fan but THE SERPENT’S EGG is one of the problematic works from him. I see precisely too what you are saying there about Woody’s SHADOWS and FOG. Thanks as always my friend for the terrific comment and have a great week.
Yeah I’m with you Samuel…..I’m waiting to see Amour as well before finalizing my list for 2012. In Kalamazoo, I may have to wait for DVD unfortunately. I also wanted to see Rust and Bone as well….even though I know it’s problematic for many.
Jon, I may have to wait a little longer if Albany gets that foot of snow some are predicting for tomorrow, but barring an outright blizzard I intend to see that movie.
Finished Serpent’s Egg, btw. Got a little better later but it seems like Bergman had some interesting ideas yet never figured out a proper narrative setup for them. Will have a review up shortly.
Wow, Marilyn Ferdinand interviews Peggy Cummins! Did you know that ‘The Green Grass of Wyoming’ (the horse racing parts) were filmed at the Fairfield County Fairgrounds right here in my hometown of Lancaster! Too bad it was before my time.
Sam, THE STORY OF FILM is a DVD series? And here I told Joel Bocko I thought it was a book. Duh.
As for the Super Bowl, ya gotta love a football team named after Poe!
Wait ’til Samuel Wilson gets a load of Ullmann as Dietrich. Marlene can rest easy, wherever she is.
PS: Richard Kim excoriates Koch for his inaction on AIDS in ‘The Nation’. It isn’t pretty to read.
Mark—
That was quite an honor for Marilyn, and to be honest quite an honor for Peggy Cummins too! Ha! I never knew about that filming in Lancaster of “The Green Grass of Wyoming.” Looks like you live just south of the center of Ohio. Nice country there! Yes, THE STORY OF FILM is a cable television series that has subsequently made a DVD appearance. Tony is also watching it right now as he states in his comment below. The series has received very high praise from Joel, Pat and Allan previously. I have very good news for you on that front. All I’ll say is that you will be watching it very soon! haha, great point about the Ravens/EA Poe/Baltimore. They were destined for greatness! Ha, great point too about ‘Ullmann as Dietrich!’ Samuel will surely read here. Thanks as always my friend!
Can’t blame Kim on that. Koch was guilty there.
Sam – Well I just learned two new things:
1 Ed Koch was a film and theater critic! How darned COOL is that?!
2. You were a weekend, midnight shift security guard on the riverfront during the “Son of Sam” terror. HOLY MOLY!
I saw a YouTube clip of the Sandy Hook Choir and Jennifer Hudson at the Super Bowl. Needless to say, I cried.
I love the photo you included of Sammy, Jeremy, and Danny!
Laurie—
Koch was indeed a man of the arts, and remarkable still is that he was a food critic as well. He loved rich food, and had to pull back when the health issues began. I remember that security guard stint as if it were yesterday. David Berkowitz had the city and the nearby suburbs terrified. I did get a lot of reading done during those years, and the late night talk shows had me riveted. I could never get used to that midnight shift though! Ugh. I am not at all surprised that choir had you watering up. Very stirring. Thanks as always for the kind words and the terrific comment my friend! Have a great week.
Hey Sam. Great that you got to see I Was Born But, which I also want to see after its mention in The Story of Film. I am up to Episode 5. Btw some episodes are up for free streaming at the SBS On Demand web site. I am impressed overall with Cousins’ effort, though it has some negatives for me. Contemporary footage of related places wastes valuable screen time, and there are gaps. If I recall correctly he does not mention the seminal influence of the Hollywood Production Code nor does he look at the Marx Bros. for instance. Indeed his coverage of non-silent comedy is very light. While the coverage of film noir is relatively lengthy compared to his virtually ignoring it in the book, it is not very authoritative will little depth, and he uncritically adopts Schrader’s perspective on it origins. Also he gives very little time to Poetic Realism. He covers the years up to 1952 in 5 episodes, with the last 10 to the years after, which to me is not a fair balance. Thanks always for your kind mentions.
Tony—
I am just about 100% certain you will have a lot of very good things to say about I WAS BORN BUT, a film that many believe was Ozu’s first truly great film, and his silent era masterpiece. The print shown at the Film Forum was rough, but this is largely the case with Japanese films of that period, which were poorly maintained. Even the Criterion Eclipse set that includes this film offers up a print with a great deal of imperfections. But when one considers how many early Ozu films are lost forever, we are rather lucky to have this great work about children. i was also very pleased it was referred to in Cousins’ series. Thanks for mentioning here of the free streaming capabilities of the episodes for those here who are preparing to give it a whirl. As far as this:
Contemporary footage of related places wastes valuable screen time, and there are gaps. If I recall correctly he does not mention the seminal influence of the Hollywood Production Code…..
you are right, as you are when you lament the scant mention of poetic realism (the latter omission is particularly lamentable, though the same could be said of the Production Code absence. I agree that he is unable or unwilling to provide more depth with noir, that there isn’t really any scholarly insight to match what you yourself know and have studied, and the matter of lack of balance is dead-on. Still, as I have mentioned the series does hold you relatively enthralled for it’s scope, a point we have agreed on. I have four episodes to go.
Thanks for everything you have done over such a long period my friend, and have a great week!
Sam, I just came across this interesting quote from Ozu on the “film grammar” of I Was Born But: “This film grew out of my desire to make a film about children. A story about children to begin with, but veers towards adults by the end. The tone is initially lighthearted, but halfway through a shift occurs and it ends on a bleak note. The company delayed its screening for two months on account of the “unexpectedly dark subject.” Moreover, I consciously did away with fade-ins and replaced them with the cut. Henceforth, I never used such editing techniques again. In fact, neither dissolve, fade-in not fade-out can be regarded as “the grammar of film”, they are no more than characteristics of the camera.”
Tony, I had actually read this a while back, and thank you very much for posting it here! It’s a precise description of the way the film was made and of his intentions, and a confirmation that he achieved everything he set out to do in the film!!
I can’t say how moved I am to receive an official invitation today from Monroe/Newtown Patch Editor Davis Dunavin to post my full Sandy Hook trip report with photos on the Newtown Patch online newsletter that services Sandy Hook and neighboring communities in the Newtown/Monroe area. Davis saw the Monday Morning Diary of January 28th, and indicated he thinks local residents “would appreciate it.” I am now a member of Newtown and Monroe Patch, and am thrilled that Davis would like to see last week’s report published. There is no MMD nor anything else that I have ever written at this site nor will ever write here that is dearest to my heart. I am floored.
Here’s the publication, with Davis writing a lead piece on the Sandy Hook kids at the Super Bowl:
http://newtown.patch.com/articles/sandy-hook-kids-at-super-bowl-the-world-watches
And now the Sandy Hook Cash Mob report is leading the way at the site!:
http://newtown.patch.com/blog_posts/sandy-hook-cash-mob-trip-report
Hey Sam, hope you are doing well. I was, to be honest, not really aware of Ed Koch. But the wonderful eulogy that you’ve written and the glowing, heartfelt tribute that you’ve provided, has made me really interested in increasing my awareness about him. After all, it never hurts to improve upon one’s general knowledge. Thanks for that.
Meanwhile, I managed to watch the following films this past week:
- The sharply written, but on the whole rather average noir The Blue Dahlia
- The light-hearted first chapter in Rohmer’s ‘Comedies & Proverbs’ series, The Aviator’s Wife
- Haneke’s deeply disconcerting debut film The Seventh Continent
- The brilliant first chapter in Aki Kaurismaki’s Proletariat Trilogy, Shadows in Paradise
- The fine & formally audacious noir by Montgommery, Lady in the Lake
- Spanis master Luis Bunuel’s subversive final film, That Obscure Object of Desire
Shubhajit….I love Shadows in Paradise and think it’s Kaurismaki’s greatest comedic masterpiece. Another in that trilogy…The Match Factory Girl is also tremendous stuff and sticks with you.
Thanks very much for the generous words on the Koch eulogy Shubhajit, if you remember Spike Lee’s DO THE RIGHT THING (and I am sure you do) the director really took a swipe at the then Mayor by having a Korean store owner in Brooklyn speak with an oriental accent addressing “Mayor Kochie” and “How I Am Doing” sarcastically, and then going on to call him a “chocolate egg-cream drinking Jew asshole!” Lee has since recanted somewhat, but back in 1989 Koch was a sworn enemy of he and most of the African-American community. My favorite of the impressive list of films you negotiated this past week is Bunuel’s OBSCURE OBJECT OF DESIRE, but i can hardly have any issues at all with THE SEVENTH CONTINENT, THE AVIATOR’S WIFE and the Kaurismakis. My own favorite film by the Finnish director is THE MATCH FACTORY GIRL. I do agree with you that THE BLUE DAHLIA is OK, but nothing really special. Thanks as always my friend! Have a great week!
Remarkable discovery!!!!! English history and lit fans take note especially:
http://www.foxnews.com/science/2013/02/05/reconstruction-reveals-face-england-long-lost-king-richard-iii/
Breaking News:
One of the nation’s highest medals for the ultimate sacrifice:
http://newtown.patch.com/articles/sandy-hook-educators-to-be-honored-with-presidential-medal
This is very moving to hear.
Indeed Pierre. I mentioned in the comment section that this honor matches any courageous act performed in combat.
Sam, I’m late to this thread but wish a good week to you and everyone at Wonders. I have a feeling my son may try to get me to go to ‘Warm Bodies’ if he can’t persuade any of his friends to see it, but I’m hoping to avoid it after your description – it sounds tepid at best!
I did go to the cinema twice this week and saw ‘Quartet’, Dustin Hoffman’s comedy about retired musicians – really enjoyed this for its astonishing cast of older British actors, even though it was fairly predictable, and I especially loved Pauline Collins and Tom Courtenay. I also saw ‘Zero Dark Thirty’ but suffice it to say I’m among the nay-sayers on that. Away from the cinema, I’m deep into the season five box set of ‘Mad Men’ – it may not be quite up there with the previous season, but I am loving it anyway.
Judy—
I have the same problem here with my two daughters, as far as WARM BODIES is concerned. My excuse of course is that I saw it this past weekend with Lucille and Broadway Bob, and that I don’t wish to see it a second time. But my 16 year-old Melanie will surely want to see it with a few of her friends at the local multiplex, so I’ll be spared a second viewing. Hope you can dodge the bullet! Ha! I also liked QUARTET, even if it was as you rightly observe, “predictable.” The performances and the ravishing music of course kept the show rolling along, and the setting was of course most appealing. Nothing revelatory there, but a very good time. i won’t take you to task on ZERO DARK THIRTY, except to say that interestingly enough Allan did not give the film his highest rating, opting for 4 of 5. I still need to take the MAD MEN plunge at some point. Great to hear you are enjoying it. Have a great week my friend!
Sam, did Allan give a 5 star rating to any film from 2012? Amour perhaps?
AMOUR was the ONLY film from 2012 that Allan broke out the five star rating for Jon. Oddly he had about a dozen or so for 2011. He and I were not on the same page for this past year, but fair enough.
Ah interesting. Yeah fewer for me in 2012 than 2011 for sure as well.
It’s a very close call Jon, between 2011 and 2012, but I’d give this past year a very slight edge myself.
I have two 5 star films for 2012 and two for 2011 (if we adjust Mysteries Of Lisbon for 2010). Overall 2011 is better IMO as a overall group.
Maurizio, if I can be referred to as a Santa Claus when it comes to star ratings, then you can be characterized as a Scrooge. Ha! 2 five star ratings for each of those years is more extreme than the most difficult critics and publications. Yet. when I issue 7 or 8 for a single year it is based on seeing about 180 or so on the big screen. When you look at that way it doesn’t come off as issuing many at all. yet I do acknowledge that you usually do get to see most or all of my 5 star ratings.
I used the number 8 here to compare (arbitrarily)
What group is stronger?
The Artist
The Tree of Life
Mysteries of Lisbon
Ball (Honey)
Of Gods and Men
War Horse
Melancholia
A Separation
or
The Turin Horse
The Life of Pi
Les Miserables
Oslo, August 31st
Zero Dark Thirty
Lincoln
The Impossible
Monsieur Lazhar
By George, it’s a dead heat, though you guys may be right. It is 2011 that rates the slight edge for me, though to make a comparison that is more persuasive, I’d have to go further of course.
Well for this decade I would go with…
2010: Mysteries Of Lisbon and Carlos
2011: The Tree Of Life and Once Upon A Time In Anatolia
2012: I’ll keep that to myself for now.
And yes I’ve seen every film you listed.
In the past I’ve tended to rate stuff higher/lower after a single viewing which seems inappropriate to me these days. Usually the second time around with a movie is more indicative of a film’s overall worth to be honest (Refn’s Drive for instance gets weaker each time I watch it).
Maurizio….so are you saying you have to see a film twice to really gauge it? I’m not sure I follow. I mean yes watching The Tree of Life a second time illuminated some things for me, but didn’t change my overall feeling. Furthermore, if I don’t like a film, the chances of me re-watching it are slim to none.
Not every single film Jon (remember this discussion with Sam was mainly about awarding 5 stars). Some like Life Of PI or Beasts Of The Southern Wild don’t need to be watched ever again (since I’m extremely certain I don’t like them and never will). I’m talking more about… A) the really good stuff or B) those that I find to be interesting failures like Margaret or Killing Them Softly. These types are the ones that need that definitive second view for me.
“In the past I’ve tended to rate stuff higher/lower after a single viewing which seems inappropriate to me these days.”
I was just referring to this sentence which it appears I didn’t really understand what you meant. My question is then, when you see something that may be a masterpiece or maybe just shy of masterpiece, are you tending to skew your ratings lower? Waiting for a re-viewing to confirm where you should place it?
Sam,
A wonderful tribute to the former Mayor of NYC. He was a colorful character to say the least and he fit the city he loved. He led the city through some tough times. Looking forward to catching the film.
This week I watched the following…
The Caine Mutiny (****) Humphrey Bogart in an outstanding performance as Captain Quegg. He gives the Character an almost sympathetic desperate feel in the film’s final riveting half hour. There are some other fine performances by Fred MacMurray, Jose Ferrer and surprisingly by Van Johnson. The film itself though spends too much time on the romance between Robert Francis and May Mann.
Sabotage (****1/2) Early Hitchcock thriller that get better and more relevant with age. Nice performance from Sylvia Sydney and Oscar Homolka. John Loder’s undercover Scotland Yard detective a weak spot.
Les Miserables (****1/2) Having only seen two screen versions of Hugo’s classic novel on the screen, I cannot say with any certainty where this 1935 Frederic March/Charles Laughton version ranks, but on its own it makes for an engrossing tale. Atmospherically photographed by the legendary Gregg Toland. March makes for a great Jean Vanjean and Laughton is rigid and vile as his adversarial ( the law is the law, right or wrong), Inspector Javert.
Corpse Came C.O.D., The (**) Tepid potboiler of a comedy/mystery with a rare lead role for Joan Blondell and a miscast George Brent.
Bedtime Story (***) Enjoyable, if unexceptional ,romantic comedy with Frederic March and Loretta young in the leads. March does well but the female lead would have been more suitable for Jean Arthur, Carole Lombard or Roz Russell. The real highlight performances are really by the supporting cast consisting of Peter Benchley, Allyn Joslyn and the always reliable Eve Arden. The film’s ending hotel scene is a high spot.
John—
I know well you were here during Koch’s term of office, and came to know his incomparable style and charisma. He lorded over the city at a time when corruption reached new heights on a number of fronts, and racial tensions reached alarming proportions. But he manages to survive the purge, and after he left office forged another career where he very much remained in the public eye. He really was a mainstay at the Angelika. He did indeed love the city, and in many ways his shtick was quintessentially Big Apple.
I see your point with that one CAINE MUTINY disclaimer, but for me the performances and the drama always worked exceptionally well. Still, I can’t argue with your summary judgement, nor star rating. I would say I do agree with your assessment of BEDTIME STORY, but haven’t yet seen CORPSE CAME C.O.D., (and based on your rating will not!) John, the 1935 LES MISERABLES for it’s ubiquitous truncation is a near-masterpiece. Laughton, March and Hardwicke are superlative, and the film adapts the most affecting aspects of Hugo’s novel. I like SABOTAGE for sure, if a bit less than you.
John, I saw a quintessential New York City film last night at the Film Forum, that I will be annointing a five-star rating with on the coming MMD. If you haven’t see it, be rest assured it’s your kind of thing. It is NYC through and through, and it’s cinema verite and fully endearing. It is running through tomorrow, and Danny and Sammy absolutely adored it too. Then again you may have already seen it John:
http://www.filmforum.org/movies/more/the_little_fugitive
Have a great week my friend! Many thanks!
Sam,
I’ve seen LITTLE FUGITIVE twice over the years. A great independent film and as you mention “quintessential New York City.” I wrote about this a few years ago and even received a comment from William Abrashkin, son of co-director Ray Ashley, who requested I note his dad’s real name.
http://twentyfourframes.wordpress.com/2009/03/27/little-fugitive-1953-morris-engel-ruth-orkin-ray-ashbury/#comments
John, this absolutely fantastic!!!! Your review is sensational. I missed commenting on this probably because I hadn’t seen it and felt I couldn’t add anything constructive at that point. Having that comment from William Abrashkin pretty much says it all.
I hope the community here reads your great piece!!!!
Allan just sent me this link to the upcoming March blu-ray release of LITTLE FUGITIVE!!! Time for celebration!
Little Fugitive [Blu-ray] [1953] [US Import]
Sam, just wanted to quickly pop in and say hi. Of course, I credit you for my Ozu discovery, which of course led me to I WAS BORN BUT. Definitely one of the highlights of the last few years for me, and a discovery for which I am truly appreciative.
Thanks again Jeffrey! Well I very much appreciate that acknowledgement, though I am not so sure I deserve full credit. I know you had begun investigating Ozu at that time, and we coordinated our individuals finds online. I do well remember your impassioned words for I WAS BORN BUT. Thanks again my friend!