Colin Firth and Julianne Moore in “A Single Man”
by Sam Juliano
As the Christmas shopping season reaches its’ peak, movie goers continue to seek out the last remaining prestige pictures leading up to all the year-end awards and critics ten-best lists. After a busy weekend, which yielded some surprises good and bad, there are only a few major releases left before the year’s end: Avatar, Sherlock Holmes and Crazy Heart seem to be the ones attracting the most interest.
At Wonders in the Dark, a number of threads attracted excellent response including Joel Bocko’s Best of the 21st Century?, Allan’s #1 post on Double Life of Veronique and a recent review of Claire Denis’s 35 Shots of Rum. But the long-running ‘Best Films of the 90’s’ polling ends as I prepare this diary, and it appears around 40 ballots were posted. Angelo A. D’Arminio Jr. will have final results around the middle of the week.
At Living in Cinema and Inside the Gold both Craig Kennedy and Dorothy Porker have been furiously reporting on the critics’ awards being given out over the past few days. The L.A. Critics went with THE HURT LOCKER as top film and Kathryn Bigelow as Best Director of that very fine film. On Monday afternoon the New York Film Critics Circle checks in.
I saw five recent films this week:
White Ribbon (Haneke) *** 1/2 (copy of DVD; Sunday evening at home)
Invictus (Eastwood) ** Saturday night; Paramus AMC theatres
The Last Station (Ford) **** Thursday night; Angelika Film Center
The Princess and the Frog (Musker) *** 1/2 Friday afternoon; Edgewater
A Single Man (Hoffman) **** 1/2 Friday night; Chelsea Cinemas
Michael Haneke’s Palme d’Or winning THE WHITE RIBBON boasts stunning digital monochrome black and white cinematography by Christian Berger, which just may be the finest of the year in that regard, but oddly the film, (though at times stark and compelling) doesn’t get close to the masterwork category some are placing it in. It’s a study of repression and off screen violence in Kaiser-era Germany, but it’s a narratively static and distancing film with a rather ludicrous premise. Again, despite one relationship that exhibits an unusual strain of humanity for Haneke, it’s an oppressively nihilist work. In any case the “pro” side produced an extraordinary review from our friend “Just Another Film Buff” at hi splace, and it’s a must-read:
Clint Eastwood’s INVICTUS is an out-and-out bad film, and easily the worst of his prolific output of the past decade. You never really get to know Mandela, everything is on the surface, and off the field there’s no chemistry between Morgan Freeman (who is convincing as the South African political hero) and Matt Damon. It’s a superficial, boring film, which doesn’t even provide the emotional uplift from the formulaic sports scenes, which carry practically no magic of their own. Damon’s mumbling doesn’t help his stock character come to life either.
THE LAST STATION, which played for a one-week qualify run in NY and LA is a sometimes uneven look at the tempetuous relationship between his wife (played to the hilt by the great Helen Mirren) and literary titan Leo Tolstoy, played engagingly by Christopher Plummer. James McAvoy and Paul Giamatti are also onboard for a story that has it’s share of rowdy humor and some sensuality and the year’s most beautiful and sweeping score by St. Petersberg composer, Sergey Yevtushenko, as well as some lovely production design by Patrizia Van Brandenstein. The final 15 minutes are emotionally overwhelming, a rare feat for a literary costume piece.
THE PRINCESS AND THE FROG by Disney alumni John Musker and Ron Clements is a dazzling work of animation, but the story has poor flow and rhythym. Randy Newman’s music is also rather forgettable. Still, for some jazzy set pieces that include some entrancing secondary characters and a few sequences that are veritable feasts for the eyes (one resembles “Be My Guest” from Beauty and the Beast) there is enough here to engage kids and the adults who love quality animation. Still it doesn’t equal either Up nor Fantastic Mr. Fox, and the blam eis on the narrative’s inconsistency.
A SINGLE MAN, an altogether shattering film with an electrifying lead performance by Colin Firth (the best of the year in fact) is a tone poem, almost elegiac that deal swith loss, loneliness and grief, and the visual textures are strikingly conveyed by first-time director Tom Ford, who prior to this sensational beginning was a fashion designer. The film is set in the early 60’s, and the Cuban Missile Crisis takes center stage amongst the period details, and Julianne Moore, who smokes pink cigarettes, turns in a typically outstanding performance. But the flashbacks are stunning and masterfully crafted, and the haunting, multi-layered orchestral score by Abel Korzenioski, which seems a new age cross between Clint Mansell’s for The Fountain and Phillip Glass’s for The Hours is a compelling ingredient. This is absolutely one of the best films of the year.
Around the blogosphere there’s much to revel in:
At GoodFellas, our great friend Dave Hicks is moving ahead with his planned Film Noir poll:
Troy Olson lists his final Top 50 for the 90’s poll (again promoting Wonders) and provides some fascinating statistical breakdown at his place. Troy has really gone the full nine yeards with this polling and his choices are as expected superlative:
John Greco continues his torrid review pace at Twenty-Four Frames, his lates a very fine piece on Slighty Scarlet, based on James M. cain’s novel:
Jon Lanthier as Douglas Fairbanks Jr.??? I kind you not. get over to Aspiring Sellout and see this metamorphosis:
Craig Kennedy has been reporting the final results of critics’ groups around the country as the year winds down at Living in Cinema, and his latest reveals that Boston has named The Hurt Locker as the year’s best film:
At “Darkness Into Light” Dee Dee has her annual countdown to Christmas in full swing , and her lead piece is an engaging capsule on the 2007 noir, First Snow with Guy Pearce:
Tony d’Ambra’s been gone now for a week, and he is sorely missed by all of us here at Wonders. But he’ll be back soon, and films.noir.net will have an update. Still he left us with some good advice and here it is again:
One of everybody’s favorite bloggers, the Divine Ms. D as in “Dorothy Porker” is now in full swing with the awards season at Inside the Gold”
Not only is David Schleicher a gifted writer and film critic but he’s a jack of all trades and a passionate traveler. Check out his latest adventure. I know I will:
“Just Another Film Buff” has gotten into “silent mode” with his superlative review of a 13 minute film from 1912 at his hallowed halls:
Dan Getahun, the effervescent proprietor of that famed cultural outpost in Minny, “Getafilm,” has yet another intriguing documentary review up:
Judy at Movie Classics is still scouring through th evaults to find some further silents as she tracks down as much Wellman as she can:
Coffee Messiah’s infectious blog weds some old photos with more recent ones that illustrate the communal spirit:
One of my dearest friends, Kaleem Hasan’s latest post is a press release on Filmworld:
R.D. Finch, again injects scholarly insights at The Movie Projector with outstanding reviews of the Dardennes’ The Son and Edward Yang’s Yi Yi.:
Tireless Samuel Wilson takes one one of the Eclipse “Nikkatsu Noir” titles at “Mondo 70” entitled Take Aim At the Police Van:
Pat at Doodad Kind of Town has announced some changes at her blog:
Nick Plowman is BACK with a terrific take on INVICTUS at Fataculture:
Ed Howard’s latest addition to his “Films That I Love” series at “Only the Cinema” in on Jarmusch’s Dead Man:
T.S. of “Screen Savour” is back with an awards post, and he promises to soon resume his silent coverage of Buster Keaton. He is one of the best:
Drew at “The Blue Vial” has in lead position an engaging essay on a relatively obscure Louie Malle film:
At Cinema Viewfinder, Tony Dayoub has what appears to be a very fine review up by Lisette Decos of Fantastic Mr. Fox:
The excellent writer Shubhajit has a great capsule up at “Cinemascope” on “Full-Time Killer”:
Andrew Wyatt of Gateway Cinephiles, a writer of great skill and tireless energy has taken a brief respite after some exhaustive festival viewing. His excellent review of The Road still headlines at his place:
Speaking of The Road, Jason Bellamy has afantastic review of it up at “The Cooler” which is a must-read:
Although I was no fan of INVICTUS, you won’t find a more brilliant and exquisite defense than what Marilyn Ferdinand penned at her place:
The ever-fecund Film Dr. has brought up some pertinent issues in regard to The Princess and the Frog at his place:
Qalandar’s latest astute political piece is titled “Devil’s Advocate”:
J.D. at Radiator Heaven is still headlining his excelelnt review of Peckinpah’s Bring Me the Head of Alfredo Garcia:
It appears that Rick Olson has a must-read essay up on The Third Man at Coosa Creek:
Luke Harrington’s latest review up at Movie Zeal is a fine one on Everybody’s Fine:
Stephen at Checking My Sausages has what appears to be an excellent essay at “Checking My Sausages” titled “Me Too Cinema.”
Ric Burke has been dormant of late, but I would speculate it’s nearing the time for a triumphant return for his famed Zeroes Project at Films From the Soul:
and finally, some GREAT NEWS! Kevin J. Olson is back!!!!:
So what have YOU seen, read, or listened to you. What have you eaten, engaged in or even shoped for during this hectic time of the year?
Click on names for archives
Writers/Founders
Thanks for the mention Sam. I’m not sure if I’m in the pro-side for The White Ribbon completely. It only looks like I’ll dislike the film more with time – Sad.
And yes, I saw this coming for Invictus. Eastwood has gotten into this “one for them, one for me” mode and it is only good that we wait for his next.
P.S: Isn’t the Firth movie A SINGLE MAN?
JAFB: Thanks for pointing out that mistake with the title. These late hours are numbing my mind! Ha!
Yes, it’s true that you didn’t exatly give THE WHITE RIBBON an unqualified rave. It’s worth seeing for sure, but it’s far from the masterpiece that many seem to believe it is.
Thanks as always!
Yes, I completely understand. And the new Coens film only makes things worse!
Sam, I felt more kindly towards INVICTUS…it wasn’t a great film, but I thought it was pretty good…a traditional “quasi” film…quasi-entertaining, quasi-educational, quasi-uplifting — a hard film to dislike, but not one I would spend much time writing about either. As such, I suspect it will still rack up some big Oscar noms (at the very least Morgan Freeman will get a nom). The audience I saw it with seemed to really like it as did my viewing companion.
Somewhere amongst all my traveling, I also had time to “dream” that I saw Trois-Coleurs BLEU and was blown away…floored really. Surely it would’ve made my top 25 for the decade had I not been so negligent in viewing the hallowed trilogy (next up is RED). The final six minutes with THAT MUSIC and THAT MONTAGE — unbelievable. One of the best musical montages in film history for sure…right under the closer to 2001 and the final Wagner montage in THE NEW WORLD.
“The final six minutes with THAT MUSIC and THAT MONTAGE — unbelievable. One of the best musical montages in film history for sure…right under the closer to 2001 and the final Wagner montage in THE NEW WORLD.”
Bravo Bravo Bravo David!!! i couldn’t agree with you more. And I know it will certainly do well in the tabulation for the 90’s poll.
I know I was tough on the Eastwood, but this is the way I saw it. Many others saw far more merit in it and that’s fair enough. I’ll look forward to your review. Thank you Sir!
Thanks for the link and the kind words, Sam. I’ve been reading The Financial Lives of Poets by Jess Walter and I also just saw World’s Greatest Dad with Robin Williams.
That Walter book sounds intriguing, I’ll have to take that down and do some investigating Film Dr. I can only imagine what you thought of that Williams film. Ha!
I think it’s safe to say that Sam and I are having a compl;ete disagreement year in 2009 – the only film we agree on is Antichrist, which kind of says it all.
Well, I think you liked ANTI-CHRIST less than I did, but this year it does appear you’ve rated a number of films higher than me.
Sam- thanks again for the mention. I only watched two films this week, Warner Brothers “Racket Busters” with Humphrey Bogart and George Brent, an okay film on union corruption. BTW, TCM has Bogart films running every Wednesday this month. Also, “Christmas Holiday” with Gene Kelly and Deanna Durbin, which I had high hopes for this holiday themed film noir considering it was directed by Robert Siodmak but was somewhat disappointed.
I haven’t seen CHRISTMAS HOLIDAY, John, though I’ve always wanted to. But I’m sure your view here is the correct one. Likewise I can’t pinpoint “Racket Busters,” which I hope you’ll get a chance to review. That for the hrads-up on the Boagrt Wednesdays at TCM!
You were tough on “Invictus” but I didn’t really like it much more. Freeman was very good, but the film had some dead patches, and the big game was formulaic. I think Eastwood relied on the swirling emotions that always surround this beloved figure, but there was never any measure of insight into what his motivations were.
I am excited about “A Single Man.”
Thank you for the props, Sam.
My pleasure of course Stephen. Thanks for all you’ve done here on these threads!
Sam: As always, thanks for the shout-out. This week, I’m making the case for the Al Pacino family comedy AUTHOR! AUTHOR! Just in time for the holidays. Heh.
I will definitely be checking out that impassioned defense J.D. I’d normally be skeptical, but I felt the same way about EVERYBODY’S FINE, and look what happened (for me at least). Thanks as always.
I am shocked to hear that you had some issues with ‘The White Ribbon’ though I can’t say much till I see it. I’ve read mixed things about the Eastwood, but all good about Freeman. I am looking forward to ‘Nine’ and especially ‘Avatar.’ I think the musical is platforming at the Ziegfeld.
I would rather not even talk about the football Giants.
Yeah, it’s too bad Joe. If they had won they would have tied for the division lead with the tie-breaker in hand with two wins this year over Dallas.
Thanks Sam for the mention.
Well, despite the not-that-favourable-response, I still am quite interested in trying out White Ribbon, as I’m about trying out Road. I guess, all I’d like is to figure them out myself.
Watched 2 movies over this weekend – The Squid & the Whale, and Fatah Akin’s Head-On. Liked both the movies, though perhaps the former more than the latter. Both are intensely downbeat movies, yet as diametrically opposite to each other as can be. I’m sure both the movies will be major contenders in any best-of-the-decade list. Hoping to post their reviews over this week.
Isn’t Akin the director of ‘The Edge of Heaven?’ That was a riveting film.
I also liked THE SQUID & THE WHALE, Shubajit, and though Ms. Linney was excellent. As Peter mentions here, EDGE OF HEAVEN is another top-rank Akin film. I’d like to know what you thought of that one. I will definitely look forward to your reviews on both!
You may wind up venerating THE WHITE RIBBON. It has overwhelming favorable response, but I stand by what I felt were substantial issues. Still, I hope you love it.
Thanks as always for your much-valued report!
Sam, I’m fonder of INVICTUS than you, but it’s not at all a movie I’d want to start a fight about. It was decent, but almost entirely forgettable. I don’t think I’d call it Eastwood’s worst, that dubious honor would go to Flags of Our Fathers (for me). A more ambitious film, but also a deeply flawed one. As I said elsewhere, with INVICTUS, Eastwood took a very good story and he pretty much just stayed out of its way.
I agree there was little chemistry between the two leads, but on his own I thought Freeman gave one of his better performances.
We do agree on A Single Man. The big surprise for me though in that film was Julianne Moore. Firth was as great as advertised, but Moore added the final key ingredient that elevated the film from being nice looking but a little distant to something altogether more resonant. It was all in her performance.
Craig, your argument is a very good one. And I agree that taken on its own terms Freeman was impressive.
But that point you make there about Julianne Moore (smoking those pink cigarettes! Ha!) being comparitively underestimated is one that can’t be denied. All the attention is going to Firth (deserved of course) but Moore was the key there.
I just heard that the NY critics group gave their top prize to ‘The Hurt Locker’ and I think Meryl Streep won best actress. Can’t quibble with ‘The Hurt Locker’ as I know the reviews were at the top level. It’s a timely film too.
I almost saw ‘Invictus’ but I couldn’t manage it with shopping. Sue was adament. Al I hear now is ‘Avatar’ by that King of the World!
Ah, that ‘King of the World’ indeed Peter! Somehow I was hoping it flopped, but the advance reviews are outstanding and the story is admittedly a fascinating one. So we’ll see soon enough.
Yes THE HURT LOCKER is timely indeed.
Thanks as always for sending people my way Sam. I may be slowing down on writing for a bit as things get a little busy up through New Years, but I have been building a list of silent movies up to watch and there’s still the matter of all the 2009 films I haven’t seen.
As for movies this week:
METROPOLITAN – fun and smart mix of Woody Allen and Jane Austen-style wit and insight. I’ve always enjoyed Chris Eigeman (who plays Nick), as well. This one was only watched because I needed something on while I cooked up some dinner and I ended up enjoying so much, I went back and rewatched later in the night. ****1/2
THREE COLORS: RED – Not much I can add to the conversation on this one. The first time through I didn’t catch all the interconnected clues that Kieslowski lays out, so I watched it a second time and it became even better, with the performances by Jacobs and Trintigant simply awe inspiring. *****
THE WINGS OF THE DOVE – I thought this captured the feel of Henry James quite well, but there were bits of it I found that meandered a bit, and the non-Helena Bonham Carter parts of the love triangle simply weren’t able to live up to the high standard she sets (and most of the third act suffers when she is offscreen). Brilliantly devastating ending, however. I did love that. ****
LA CEREMONIE – wrote about this at my blog, so I won’t add anything here. Great, great, great movie. *****
THE APPLE DUMPLING GANG – Can you believe THIS was on TCM the other night. When my wife and I got back from dinner, it was on, so we watched it, as we both loved it when we were kids. Needless to say, it doesn’t hold up well (as most things you were fond of as a kid don’t). I won’t rate it.
Troy, as I stated elsewhere, your preparation for the 90’s poll has been staggering and no doubt time-consuming, but I know you watched some masterful stuff there. The silents of course are a major challenge, though I know you again find some treasures there to write about. Yes, blogging should be outlawed for the days leading up to Christmas. If so, I’ll probably be one of the first ones arrested! Ha! I love all those films, except the last, which I have not yet seen, and I agree that the two ***** rankings should be for the two you gave them to. I liked WINGS a lot too, but I see where you are coming from there. Many things you loved as a kid don’t hold up now, I have found out that is quite true, and APPLE DUMPLING is a perfect example!
Thanks as always for the fantastic report!
Sam, I was generally disappointed by Invictus but still felt some emotion in the underlying message of the film, which for me is that sport can transcend social boundaries and classes, and that the Sprinkboks’ victory was perhaps as important as Mandela’s electoral victory. In any case the final game was endless – it’s as if Eastwood had never seen a climactic sports movie ending before. For what it’s worth I thought Damon was actually great (or maybe just better than expected), but on balance this was too many movies in one.
And besides, nothing can top Changeling as Eastwood’s worst film of the decade.
yikes, I forgot about Changeling. I liked it for the first half when it was still a mystery, but the more we found out what happened to her son, the more it fell apart.
Daniel, believe it or not I prefer CHANGELING to INVICTUS, though only marginally. At least there was some craftsmanship in the techs. But Daniel you make an excellent point there with that underlying message, but as you subsequently note teh scene is endless, which for me damaged the intent. But a strong argument can be posed by both sides. Craig defended his marginal tolerance for the film this afternoon at LIC, and now you do likewise. Thanks as always for the much-valued input and insights.
“Marginal tolerance” – I like that!
Honestly that tedious last game was just ripe for clever criticism, what with everybody in the stadium checking their watches, and the slow motion clock ticking down, and the bodyguard saying “I don’t think I can take it” when told the game was going into extra time. It’s all too easy to make fun of.
Daniel, I was just relieved there was less rugby. I was surpised how little attention they paid to it until that final match.
Hi! Sam Juliano, Allan, and Wonders in the Dark readers,
Sam Juliano thanks, for mentioning the happenings on my blog… as usual.
Sam, very interesting films that you watched and reviewed this week in order to share with your readers’ here on your blog…I will wait for them to come out on DVDs, but of course!…I was happy to read about baby Olivia Sophia’s Christening for a baby (baptism) too…Thanks, for sharing!
Here go the real lowdown…
…This week I helped my parents’ trimmed their tree…watched a couple of Christmas films…
…A Christmas Carol, It A Wonderful Life, The Bishop’s Wife, Holiday Affair, A Christmas Wish and Christmas in Connecticut…
…Ed Woods, Sweeney Todd, The Astronaut Wife, and…
Animation that I checked out…Rudolph the red-nosed reindeer, Santa Claus is Coming to town and the “underbar” animated short from Sweden entitled…The Tree with the Golden Apples.
Burton’s Nightmare before Christmas, Bride Corpse, and Ratatouille.
Literature: That I Added To The Bookshelf :
Books on my (book) shelf and they are Due to the fact, that I “hang” out with a literary crowd (In most instances, just listening, observing and reading.)
1. One to Many Blows Too the Head still lead on the shelf…
2 “The Thief Maker” author D.H. Schleicher’s book… slowly, but surely is approaching the end.
3. I’am beginning to check out author Dennis Lehane’s books, Thanks, to authors J.B Kohl and D.H.Schleicher…
…as I mentioned on D.H. Schleicher blog here goes some information that Ms.Curiosity (That would be me…) discovered on my quest to find as much information about him (Lehane) as possible and this is what I discovered about him…
…author Dennie Lehane, carousing with authors Eddie Muller, Ken Bruen, Harlen Coben, James Crumley, Peter Robinson and Laura Lippman at Boucheron.
[Go over five spaces and then down to the fourth row on your right and then click on the picture, it will pop out in a new window.]
Eddie Muller’s Scrapbook
and and here goes his official website
author Dennis Lehane’s Official Website and…
Everything That You Wanted To Know About Author Dennis Lehane…but was afraid to ask…
4. Woody Haut’s List of his favorite books…Check out his number one choice…
Woody Haut’s Top Book Choices
Music…No Comment
Food … Hmmm…a very light touch…as usual.
Sports… No Comment…
Politics…No Comment
Sam Juliano, I guess that about wrap up my week in review for this week.
DeeDee 😉 🙂
————————————————————————————————————
Thanks so much for remembering Olivia Sophia’s Christening, Dee Dee! You are amazing! We had a smaller party than the one my brother staged for his first daughter, where it seems our whole town was there! Ha! But it’s been a bittersweet year.
You watched more than a “few” Christmas movies there Dee Dee! You watched some of the most famous ones of all for this time of year. Of course IT’S A WONDERFUL LIFE, which you watched again is much like the Alistair Sim A CHRISTMAS CAROL, in that it’s a perrenial favorite. The delightful THE BISHOP’S WIFE is another one that’s often overlooked. Of the other three, I’ll admit SWEENEY TODD revulses some, but count me in as a fan!!!
“Animation that I checked out…Rudolph the red-nosed reindeer, Santa Claus is Coming to town and the “underbar” animated short from Sweden entitled…The Tree with the Golden Apples.
Burton’s Nightmare before Christmas, Bride Corpse, and Ratatouille…..Now THIS batch is great stuff Dee Dee!!!!!!!!! We have a copy of each, some of which we use in our schools.
Eddie Muller’s scrapbook, Dennis Lehane’s site and “Everything…..” are much-appreciated links, and it’s great that you’re winding down on David’s novel. And then there’s Eric Beetner’s volume on top!
And thanks for the Woody Haut link. I’ll check it out right now!
Tremendous weekly report as usual Dee Dee!!
Sam Juliano said, I haven’t seen CHRISTMAS HOLIDAY, John, though I’ve always wanted to. But I’m sure your view here is the correct one. Likewise I can’t pinpoint “Racket Busters,” which I hope you’ll get a chance to review. That for the heads-up on the Bogart Wednesdays at TCM!
Sam Juliano, go check out your vast DVDs collection…because I sent that film (Christmas Holiday) to you earlier this year.
(I must admit that the title is very deceiving!!!!…)
DeeDee 😉 🙂
Dee Dee
I’d be interested in your thoughts on “Christmas Holiday.” I was not particularly impressed with it. Disappointed since Siodmak, a fine director of noir, made the film.
Hi! John Greco,
I liked it…with all of its noirish elements and the main characters (actor Gene Kelly and actress Deanna Durbin playing against type…Song and Dance people who did neither in this film, but I think that she did sing one or two songs.)
Over there on IMDb message board 16 of the 20 commenter’s’ seems to agree that Siodmak’s film was worth seeking out to watch too…
…IMDb Commenter’s Opinion About Robert Siodmak’s 1944 film Christmas Holiday.
I must admit that I do agree with the first three comments left over there on IMDb by dbdumonteil, lugonian, and Charles Reichenthal about Robert Siodmak’s 1944 film Christmas Holiday.
“The soldier will be a little late this Christmas…,”
Author: dbdumonteil
“Deanna Durbin’s Dramatic Debut,”
Author: lugonian from Kissimmee, Florida
“Prepare to be Astonished!”
Author: Charles Reichenthal (churei@aol.com) from Brooklyn, New York…
In the end, I know that some film viewers that did not like director Robert Siodmak’s 1944 film Christmas Holiday and some did like it (I must admit that among “some” not “all” in the “film noir crowd” (“novice and film noir aficionados” alike they seem to really like this film.) and I just happen to agree with the film noir crowd that liked Siodmak’s 1944 film Christmas Holiday too.
DeeDee 😉 🙂
Dee Dee – I guess you liked it more than I did. I had problems with the opening segment and thought the flashbacks were a bit clunky. Not bad but I think Siodmak has done much better work.
Durbin did sing two songs, “Spring Will be Late This Year” and Irving Berlins’ “Always.”
It must have been pretty shocking to Durbin’s fans in those days when she did this film.
Thanks for sharing you thoughts.
Stopping in here late this week, but it’s been busy for me recently. I’m gearing up for the noir countdown at my blog, but at the same time keep finding some westerns that I’ve had hanging around waiting to be watched. Over the last week or two, I have watched (in some cases for the second or third times) noirs such as: Act of Violence, Crime Wave, Pitfall, Christmas Holiday, Decoy, Cry of the City, Phantom Lady, The Big Steal, Illegal, Side Street, Out of the Fog, Tension, House of Bamboo, Journey Into Fear, The Hitch-Hiker, Side Street… there are even more, but these are just rattling off. I won’t reveal my thoughts just yet, I’ll save them for the countdown, but there are some awesome films in this group. Most of them I had seen, but was revisiting for ranking purposes, but I enjoy that almost as much anyway.
The Bengals this week… ugh…
A number of great titles there Dave! But I can well imagine that it’s difficult now getting everything together with your newest project, one that will open up new avenues for a number of WitD readers, especially the film noir fans. I am genuinely excited about this newest countdown!
My condolences on the Bengals, but it’s only temporary–they are headed for the playoffs!
Thanks for the Single Man/Last Station reviews – was debating whether to see them, now I shall!
Hey Anu! Yeah I must admit I love dboth, though A SINGLE MAN will be in my Top 5 for the year!!! The score for the film, a cross between Glass and Mantsell, was electrifying, and the exquisite look of the film, complete with textured backgrounds, and effective flashbacks are perfectly wed to the film’s two extraordinary performances by Firth and Moore.
But THE LAST STATION is rather a sleeper, and both Mirren and Plumber (and McAvoy as well) were excellent.
Sam, this post is becoming one of my favorite stops of the week. Not because you (kindly) mention me (well, not only because!), but that it helps me sort through the thicket of some very good movie writing out there.
Rick: That is quite an honor coming from you, and having your link is way more than just a little comforting. I thank you, Sir!
‘A Single Man’ sounds great – I really look forward to seeing Colin Firth in a film that is worthy of him, after seeing him give a fine performance in the otherwise dreadful ‘Dorian Gray’!
Very kind of you to mention me, Sam – I’m afraid I’ve just been working and getting ready for Christmas this week and haven’t seen anything much.
But I have got hold of a couple of books on silent films from the library to get ready for the silent season here, ‘Silent Movies: The Birth of Film and the Triumph of Movie Culture’ by Peter Kobel and the Library of Congress, which looks very good, and ‘A Pictorial History of the Silver Screen’ by Daniel Blum, which is mainly just montages of photos.
OMG Judy!!!!!!!!! Talk about impassioned preparation for the silents poll!!!!! Unbelievable! I have wrecked my brains, but I don’t know these two volumes. perhaps Allan or Joel may be familiar with them. I am IMMEDIATELY heading over to amazon to research the Kobel, which would appear to be essential. Of course I’m sure you probably know David Kerr’s THE SILENT CLOWNS, another indespensible volume of this period, that is pretty much (with Robinson’s CHAPLIN) the definitive study of Keaton, Chaplin, and Lloyd.
I don’t blame you for getting ready for the holiday season, and i wish you a wonderful relaxing and joyous respite. Of course I know you are still looking to this period to provide the upcoming discourse over at Movie Classics!
A slight correction Sam. That is Walter Kerr on The Silent Clowns (an essential book on silent comedy) Dave Kerr is our more recent critic.
Indeed John! Absolutely right. I always confuse the two for some inexplicable reason. Dave of course writes for the Times, while Walter is more of a film historian, but easily just as great as writer. Thanks for pointing this out.
And yes, as I said above, Firth is masterful. It’s the best performance by an actor this year, bar none.
Thank you very much, Sam! I don’t know ‘The Silent Clowns’, as I’ve tended to watch more melodrama than silent comedy, but I will see about getting hold of it, and hopefully ‘Chaplin’ too. On Firth, I think he might sometimes get underrated as an actor because of his looks, so it’s good to see him getting some recognition for his acting.
Thanks very much to both John and Sam for the further info on Walter Kerr – I have ordered this one from the library and hope to have my hands on it soon.
hello Sam, still unpacking and the dvd player has still not been unpacked yet, but luckily – I have combo/video next to the bed…so i saw.
The Uninvited (1945)* (out of 4) – A brother and sister move into a haunted house loacted on the New England cliffs, which seems to have been inhabitated by the sinister spirit of a young woman’s mother.
A smooth ghost story with excellent production but very few frissons, my second viewing. It’s always reminded me of ‘The Hungry Glass’ from thriller, but the film is padded out like to many films with a romatic interest.
It Happened Tomorrow (1943) *** – A 19th century cub reporter finds himself in posession of a newspaper from the next day. It’s great to help his career prospects, to win money at the races, until he finds his own death reported.
An excellent little wartime fantasy, my second viewing, only hampered by the totally redundant flashback structure which gives away the ending.
Suspira – A girl is stalked by evil at school for girls.
Lurid colour and a loud score but basically horrid exercise in sadism. The first 15 to 20 minutes has a new pupil murdered in as lurid way, this all before a character has even been established.
Harry’s Game (1983)*** – When a Minister in her Magesty’s government is assasinated outside his house by a member of the provisional IRA, the ok is given by No.10 to instigate a back channels operative to find the culprit. “Harry” plays by his own rules, as he establishes himself into the community. But already, the net is closing in on him.
BATFTA nominated drama from the independent TV sector, which is deeply enthralling, suspenseful and illuminating. Like a game of chess being played by the British and the Provos. Superbly directed by Lawrence Gordon Clark (of “A Ghost Story for Christmas’ fame).
Alexander Nevsky (1938)** A Russian leader rallies his people against the corrupt bastions of his own country to fight the invading German hordes.
A second viewing of this in one year. What bored me the first time around subsided on this subsquent viewing in which the superb pictorial quality, cutting and music combine to create a historical pangeant. Yet, at it’s core, it’s still a poor man’s ‘Henry V’ – without inner complexity and resonance, fitting as a propaganda piece aimed at a crude peasent population suspicious of a rising power.
The Adventures of Sherlock Holmes (1940)** – Moriaty plans to shred ‘The Great Detective’s’ reputation by having his intellect grappling with a sinister and preplexing murder threat, whilest he goes about the greatest crime of the century.
Perhaps the finest of the Rathbone/Bruce series and at least the equal of ‘The Hound of the Baskervilles’, with Zucco making a superb villian and some ripe lines but hampered whenever Zucco, Rathbone and Bruce aren’t onscreen. The second leads are dull and the plot loses interest before the end.
The Private Life of Sherlock Holmes (1970)**** The papers of Dr. Watson detaling cases where his friend Sherlock Holmes failed are opened decades after their passing and illustrate a discreet anecdote and a case involing a damsel in distress, German spies, submarines and the Loch Ness Monster.
In just one movie, Wilder takes the trappings of Doyle’s legendary character from the depths of hokum or straight-laced adapations and gives him flesh and blood and depth and a wit worthy of Wilde or Wilder, for the movie is as much about Wilder as it is about Holmes. The tough, irasicble Hollywood player displays a tenderness that had been hidden by bristlingly funny satires, dark brooding dramas and a cutting wit. Here, he reveals more than he ever intended and had only ever been suggested and leaked out, such as the heart-breaking ending of ‘Double Indemnity’, or by Milland’s quaking fear and self-destruction in ‘The Lost Weekend’, by Swanson’s and Strohiem’s relationship in ‘Sunset Boulevard’, by Baxter’s loneliness in ‘The Apartment’. ‘The Private Life’ is caked by profound elegiac tone, even in it’s bright moments of glee and joy, such as the visit to the ballet, there’s a mourning and underlying expression of sorrow surrounding it, for an age that’s irrecoverably past (the movie was made as a reaction to Bond) and for it’s flawed hero – trapped as he is his own neuroses. A masterpiece, perhaps this director’s last, for it’s affectionate and loving recreation of a period, stunningly recreated by one of the great prodution designers at great expense, the bitter-sweet violin theme by Rosza, and a survey of Wilder/Holmes emotional landscape. It’s failure would derail one of Hollywood’s sharpest operators.
Bobby, you make ‘The Private Life of Sherlock Holmes’ sound unmissable – I will have to get hold of it. Great review. I’m also tempted to see some of the Rathbone Holmes adaptations.
Hey Bobby!
I am finally getting to responding to your typically comprehensive but always enthralling report. I must say I have missed these as of late, but I know you have been tied up.
That comparison to Thriller’s “The Hungry Glass” is an excellent one I must say, and I wouldn’t have thought this myself, even if now I see it all so clearly! I liked UNINVITED more than you did, but I’ll agree it’s no kind of genre masterwork as some believe. But as you point out the production values are top-notch, even as the story inches along.
I completely with you summary judgement of IT HAPPENED TOMORROW, even to the disclaimer about the flasback structure. A few critics at the time of its release charged that comedy missteps turned it into a farce, which was thought as a fatal flaw, but this criicism holds little weight now, methinks. I am game for anything by Clair, and I’m rarely disappointed.
More to come in second response, momentarily.
“Yet, at it’s core, it’s still a poor man’s ‘Henry V’ – without inner complexity and resonance, fitting as a propaganda piece aimed at a crude peasent population suspicious of a rising power.”
You make a very good point there, though the film is still a grand, enthralling and awesome spectacle in the glorious tradition of Eisenstein’s command of composition and narrative conflict, whether it’s internal or external. We also have here one of the greatest scores (by Sergei Prokofiev) in the history of the cinema, a symphonic masterpiece that works as a separate listening experience. But there’s so much more to that with this film, which I agree is a definite one to revisit over and over.
THE ADVENTURES OF SHERLOCK HOLMES (1940) is certainly one of the greatest of the Rathbone Holmes entries (I am a lifelongfanatic of this series) but I’ve always favored THE SCARLET CLAW as the very best one. It’s an atmospheric gem set in the foggy mores, and it’s loaded with all kind of menace and tension – but I’m sure you know it well.
I see Judy and Allan have made some excellent responses to your superlative capsule on SHERLOCK HOLMES, which you obviously have quite a lot of passion for–“profound elegiac tone” etc…..I am not quite the fan, but it’s been many years since I last watched this, so another viewing is very much in order.
Bobby: What are your expectations of the Christmas day opening here in the states of the Michael Ritchie/Robert Downey film about a gay SHERLOCK HOLMES, which seems to be getting solid advance reviews for at this point?
Your viewings are beyond impressive. This report is simply monumental!!!
Bobby, you seemed to have missed the final star rating for SUSPIRIA there, but in any case we may have parted company on this title, as I’ve always considered it (on the strength of it’s terrifying sense of dread, brilliant score and pyrotechnics) as one of the greatest Italian horror films, and Argento’s one single undisputed masterpiece. He’s no Bava, but in this once instance he achieved Bavian prominence. Interesting though that of the few that didn’t care for the film, they also rejected Goblin’s score. That opening 20 minutes though is nerve-wracking, and deliciously horrific. I hope the Olsons come in here and provide further enlightenment as this is one of their babies!
More to come momentarily. I’m at school, and I’m being bothered by students! Ha!
Bobby — even being a huge fan of SUSPIRIA, I’d say your points about it are not terribly off. Yes, it is lurid, with a loud score — in many ways an assault on all the senses is exactly what the best of Italian horror is going for. Furthermore, character development is often thrown out the window and replaced instead with an otherworldly atmosphere. If that’s not going to float your boat, then yeah, this movie isn’t going to work. Plenty of people I respect just don’t like it and it’s for these reasons that I can understand where they are coming from.
If you look at SUSPIRIA as a nightmarish, gothic fairy tale, I think it retains all of its power. As a straight-up narrative horror movie, yeah, it kind of fails.
Have you watched some of the films of Bava? I’m curious as to what you thought of them, as they are a bit more subdued than most of Argento’s stuff.
PS: my ratings go no further than four ****
Bobby I just finished my series of responses, though I think the last one was somehow printed in the middle.
I understand that you go with the **** rating system. Fair enough. I once used that myself.
Old Halliwell habit, kinda ingrained in me.
I prefer the Holmes in his period, though some of the 2nd features are pretty terrific in terms of atmosphere. I think you would find another viewing of ‘The Private Life..’ a revelation.
I agree about everthing you said about ‘Alexander Nevesky’, which raised to another level for me compared with his ‘Ivan’ film, which was impressive but static. May have to catch that a second time too.
Thanks Judy, the review was even longer but I had a power cut and had to rewrite the whole.
I didn’t mention the superb photography, Christopher Lee in by far his greatest performance and the best Holmes/Watson team there ever was. It cost $6 million dollars, a staggering amount for the late ’60s and it was taken from Wilder and half the stories cut out.
He lost faith in himself and foundered thereafter.
The first two period Rathbone/Bruce films are the best, the rest can be entertaining but lack the period flavour.
The only two others worth exploring are the British Granada adaptions that are very faithful to the originals, even to the point of using the Strand Magazine illustrations as reference points, but can sometimes lack pace and style.
You may also enjoy the mid ’50s BBC Radio adaptions to listen to during your surfing time and with splendid performances by Sir Ralph Richardson & Sir John Gielgud. My favourite is ‘The Final Problem’ (it was Doyle’s 4th favourite tale). This one has a wonder turn by Orson Welles as Moriaty (15 years after playing Holmes himself). They are in the public domain and here is a link….
http://www.nostalgic-radio.com/2009/02/18/sherlock-holmes-the-final-problem-1954.aspx
I don’t know about Lee’s finest ever performance, Bobby. He was an excellent Mycroft, but I’d say his work in The Devil Rides Out, The Wicker Man and a couple of others matches it. As for the film, though I have great affection for it, it just doesn’t quite hang together as it should, and though Stephens and Blakely are superb, they don’t bear much relation to the real figures (I think Cushing and Morell in the Hammer Baskervilles were the best pairing in terms of closeness to the originals, though Rathbone of course was devilishly charismatic).
Mind you, if the three hour original cut got resurrected, it may strangely hang together better. Best thing about it is definitely Miklós Rózsa’s final great score.
I always found him to be a poor man’s Conrad Viedt, but in here he’s absolutely luminous, Holmes equal. Trauner’s production design, the costumes, Challis’ pastel photography…all are of a piece. I’d love to have seen the 3 hour version, but for a truncated film it sure runs beautifully. The fact of the matter is that, I think, that for myself and most who’ve I’ve seen it with never realise that there were two other stories originally, perhaps because they were so cleanly excercised, a prolonged introduction that also one would never know about, and a flashback to Holmes university days.
i agree that other pairings were closer to Doyle’s interpretation, Allan, but me thinks them slightly too dull. There’s a rare feeling of fraternity between the pair that equals the father/son bond of MacMurray/Robinson in ‘Double Indemnity’ and Blakely’s over-excitement is wholly, endearingly human yet he displays intelligence, passion (for Ballerina’s) and campassion.
Allan, just saw some clips of Ritchie’s kung fu, pistol-shooting Holmes….looks like a crock of shit!
Well Bobby, I see I don’thave to go further than to know what you think of the upcoming film! LOL!!!! But the very good (unexpected too) reviews are making me wonder……
Thanks for the extra information and thoughts, Bobby – I have seen some of the Granada adaptations and agree with you they are excellent. Sorry you were hit by a power cut! ( I did also think that Rupert Everett might have been a good Holmes, but unfortunately the one TV film he appeared in was a dreadful new story which didn’t have the quality of the original tales.) I haven’t heard the radio versions but am a fan of old time radio so will look them out – many thanks for the link.
Yes, I’d say avoid like a box marked EBOLA.
Allan, you are jumping the gun. Let’s see what happens. Few are talking so negatively at this point, so you never know.
Getting back to Invictus, Sam — just for a moment — like Craig I enjoyed it more than you did but certainly can understand your sentiments. What made me give it a passing grade were a) the underlying story, b) occasional effective moments of craftsmanship, and c) Freeman’s performance, which I rate better than his work in MDB.
I’ll share more pithy remarks at a later date.