by Sam Juliano
The first month of the 2010 is gone, and typically, movie fans don’t have a heck of a lot to celebrate. In the New York area, only the art house showcases offer something remotely worthwhile, as the multiplexes are loaded with carry-overs from last year, and critically-trashed low-brow fodder. This is probably the time of year where at-home viewing is the panacea for all outdoor frustrations (which in the NYC area are frigid temperatures-last night the mercury plunged to 12 degrees) as you aren’t in danger of missing out on much.
Allan’s ‘almost silent film’ countdown continues in all its splendor – and that includes Tony d’Ambra’s diversely beautiful sidebar graphics, and we’re reaching the stage where some truly great stuff will be presented. Meanwhile at “Goodfellas”, Dave Hicks’s trenchant ‘Top 100 Noir countdown proceeds in to the ’70’s’ this week, and the promise of some classic noir.
Lucille, Melanie, Bob and I endured some frigid arctic weather in Manhattan on Saturday night, heading down to the ‘Wings Theatre’ on Christopher Street to take in an off-Broadway production of the popular 1990 musical hit Jekyll and Hyde, a show that Broadway Bob informed me with straight face that he saw it “53” times, including two roadshow versions in California. I had never seen it even once until last night, nor had I ever heard the music, but in both cases I am rather happy I was kept in the dark. I found the score uninspired, insipid and torturous, and light year’s from Stephen Sondheim’s melodious Sweeney Todd, upon which Jekyll and Hyde bears an uncanny thematic resemblence with. The singing ranged from mediocre (Dalles Wilie as Henry Jekyll and Edward Hyde) to downright bad (Dorothy Massey as Lucy Harris) and the stage orchestration was low-volume to the point of non-existence. But Bob thought is was a decent production, Lucille liked it and my daughter Melanie enjoyed it, so who am I to say? Two of the songs “This is the Moment” and “Someone Like You” are showstoppers among a plethora of unremarkable music.
On the movie front I saw three films theatrically:
Edge of Darkness *** (Friday afternoon) Edgewater multiplex North Face *** 1/2 (Friday night) Sunshine Cinemas The Girl on the Train *** 1/2 (Sunday afternoon) IFC Film Center
Mel Gibson’s latest, EDGE OF DARKNESS, based on a 1985 British miniseries, seems to downplay what could have been a fascinating psychological context in favor of a more conventional revenge drama, but it has its moments, even if at the ed you know you’ll forget the whole thing in a matter of hours. The scenes with Danny Huston and Denis O’Hare as slimebags are the film’s best along with a horrifying murder at the beginning on the front steps of a home.
Sweeping mountain scenes abound in an intoxicating allegorical study of treacherous peak ascending a la 1936 in the throws of national socialism, but it’s clear that NORTH FACE is an unabashed, hefty dose of propaganda. The last time I saw such captivating outdoor camerawork on this topic was the documentary Touching the Void, but in a sociopolitical sense, the comparison ends there. It’s intents are painfully obvious, but it’s still a journey worth taking.
Andre Techine is one of France’s most talented contemporary directors. His best film was his first, Wild Reeds, a thinly disguised coming-of-age tale with considerable political underpinnings, and his 2008 The Witnesses again explored gay relationships to telling and moving effect. His newest film is more concerned with character than narrative and such it’s fascinating to a point. Yet, this is still Techine’s least satisfying film, as it doesn’t probe deeply enough in an incident concerning a Frenchwoman who reports an anti-Semetic incident, and then recants.
Around the blogosphere things are heating up:
Tony d’Ambra has been cooking up quite a diverse series of goodies at ‘Films Noir.net’, the latest an amusing dismissal of celebrated noir author James cain by none other than Raymond Chandler himself: http://filmsnoir.net/film_noir/chandler-on-cain-proust-in-greasy-overalls.html
Troy Olson’s ‘Award Time’ post, naming Wonders in the Dark, Ed Howard’s Only the Cinema and Dave’s Good Fellas blog (as well as a few others) for ‘Kreative Awards’ is still headling at Elusive as Robert Denby: The Life and Times of Troy: http://troyolson.blogspot.com/2010/01/it-major-award.html
Dave Hicks is faithfully and most impressively moving forward with his Top 100 film noir countdown, and he’ at #80 with his excellent capsule appraisal of The Big Steal at “Goodfellas.”: http://goodfellamovies.blogspot.com/2010/01/80-big-steal-don-siegel-1949.html
Dee Dee has officially announced another year of Oscar nomination discussion between Wonders in the Dark and Darkness Into Light. Last year’s discourse on the various categories inspired some excellent comment threads, and again I tip my cap to her for her promising upcoming plans: http://noirishcity.blogspot.com/2010/01/thursday-daily-newscountdown-to-31-days.html
Director Jeffrey Goodman combines talent, energy, and personality – an unusually potent combination – and as of late he’s been graceing the blogosphere with his good will and fantastically engaging posts – he’s a list guy and like Dave Hicks and a few others – we at Wonders live and die for lists – and his latest compilation is on Jim Jarmusch: http://cahierspositif.blogspot.com/2010/01/favorites-of-my-favorites-9-jim.html
Few writers online are as prolific as my very good friend John Greco, and few ar as passionate bout what they write and what they post. Whether it’s insightful reviews or poster displays John is always engaging and ultra-informed and he possesses a wealth of experience. His latest is on a King Vidor feature: http://twentyfourframes.wordpress.com/2010/01/31/street-scene-1931-king-vidor/
J. D. at “Radiator Heaven,” writer and statesman extraordinaire, has a touching remembrance of J. D. Salinger up at his place: http://rheaven.blogspot.com/2010/01/jd-salinger-1919-2010.html
It’s always ‘two for the price of one’ at that altar of cinematic reverence, “Ferdy on Films,” where midwesterner Marilyn Ferdinand collaborates with Australian Roderick Heath. Haeth’s surprising but excellent defense of Ang Lee’s Taking Woodstock is currently headlining: http://ferdyonfilms.com/
Indian cinema receives it’s most profound and scholarly treatment when before the eyes of our very god friend ‘Just Another Film Buff’ who has Bollywood feature headling, which somehow makes methink of Almodovar! Ha! In any case, whether you’ve seen the film or not,thi is writing of the highest caliber: http://theseventhart.info/2010/01/30/tie-me-up-tie-me-down/
Jack-of-All-Trades David Schleicher has a book review of a Margaret Atwood novel at his place, which I need to look at ASAP: http://davethenovelist.wordpress.com/2010/01/28/a-damn-good-flood/
Daniel Getahun has the crowning finale to his five-part appraisal of the cinema of 2009, with his “ten-best” and honorable mention list. Those who really value eclectic cinema must certainly visit “Getafilm”: http://getafilm.blogspot.com/2010/01/best-of-2009-part-5.html
Craig Kennedy’s eternally popular “Watercooler” is up and running at LIC: http://livingincinema.com/2010/01/31/ye-olde-watercooler-talk-amongst-yourselves-ive-got-nothing/
Over at Movie Classics, the expert at early 30’s Hollywood Cinema, “Judy” is still headlining with an exquisite essay on Wellman’s The Purchase Price: http://movieclassics.wordpress.com/2010/01/16/the-purchase-price-
Shubhajit has posted his 300th review/feature at “Cinemascope” and congratulations are in order! Alwats quality-conscious and economically perceptive -he’s much like our own Allan Fish- his latest capsule gem is on David Fincher’s Zodiac: http://cliched-monologues.blogspot.com/2010/01/zodiac-2007.html
Sporting a spiffy new banner at Only the Cinema, the exceedingly-gifted Ed Howard, whose writing bridges the gap between the analytical and the poetic, has penned a stupendous essay on Michael Haneke’s The White Ribbon: http://seul-le-cinema.blogspot.com/2010/01/white-ribbon.html
Ed’s monthly dialogue partner, the gifted Jason Bellamy, has a profound essay up on Crazy Heart with Jeff Bridges at “The Cooler”: http://coolercinema.blogspot.com/2010/01/falling-and-flying-crazy-heart.html
At “Hugo Stiglitz Makes Movies” Kevin J. Olson, who combines talent and statesmanship in a way that has attracted legions of bloggers, has written a two-year piece on blogging and ‘thoughts on film.’ http://kolson-kevinsblog.blogspot.com/2010/01/2009-in-film-and-some-thoughts-on-two.html
My excellent friend Pat at “Doodad Kind of Town” is headlining with a remembrance of J.D. Salinger, which is a must-read: http://doodadkindoftown.blogspot.com/2010/01/j-d-salinger-1919-2010.html
Samuel Wilson is a film writer and blogger who is aways searching for the “outer reaches” and at “Mondo 70” he combines the popular (he recently reviewed Up for example) with the eclectic, with the historical, and with an eye for completism. His latest at is one Anthony Mann’s first film:http://mondo70.blogspot.com/2010/01/great-flamarion-1945.html
Always a place of lively integration of poster art, collages, poetry and adages, Michael, a.k.a. “Coffee Messiah” always has quite a cup brewing at his place, and you’re guranteed to alays leave there with a smile: http://coffeemessiah.blogspot.com/
A renowned film professor and valued friend, the “Film Doctor” has his weekly, celebrated “Notable Media Links” post up at his place: http://filmdr.blogspot.com/2010/01/notable-film-and-media-links-january-27.html
At “Gateway Cinephiles” Andrew Wyatt’s colleague “Chris” is still hradlining with this “300” capsule post: http://gatewaycinephiles.com/2010/01/21/film-diary-300-rifftrax-edition/
At The Aspect Ratio, activity has slowed a bit, but those incedibles lists are still there for those who haven’t seen them yet. Here’s Bob Clark’s ‘Top Ten of the New Millenium:” http://theaspectratio.net/newmillenniumfilm10.htm
Greg Ferrara of Cinema Styles (that lovely gentleman that honored us with a ‘Kreative Award’ has a post up announcing the upcoming TOERRIFIC discussion on Samuel Fuller’s White Dog at Joseph Campenella’s place: http://cinemastyles.blogspot.com/2010/01/toerifc-february-sam-fullers-white-dog.html
Rick Olson speakson the “Film Preservation Blogothon” passionately at his “Coosa Creek Cinema” home: http://coosacreek.org/mambo/2010/01/22/preserving-our-favorite-art/
Tony Dayoub has an excellent review up of the Mel Gibson film I saw over the weekend at “Cinema Viewfinder:” http://www.cinemaviewfinder.com/2010/01/movie-review-edge-of-darkness-2010.html
T. S. at “Screen Savour” will soon be having some Keaton reviews up at his place, but presently he still has an engaging series of posts up on 2009 cinema: http://www.screensavour.net/
R.D. Finch at The Movie Projector will be returning tomorrow. His announces this news here, though everyone is advised to check his site when his new essay is up: http://movieprojector.blogspot.com/2010/01/movie-projector-returns-feb-1.html
Nobody is missed in the blogosphere more than Ric Burke. All of us are hoping he will back with some kind of revised ‘Zeroes Project’ and a resurrection of the glorious ‘FilmsFrom the Soul.’: http://filmforthesoul.blogspot.com/
So what have you done or experienced? You know the subjects!
Thanks so much, Sam, for the link once again. I’m actually planning to add an addendum to the review giving the film another chance. I think that it might be a bit better than I’ve mentioned in the review.
And I guess nothing worthwile at the movies this week, eh? Thaks for the heads up. And consider me a supporter of Ang Lee’s film too. Will check out Ferdy’s site soon…
Hey JAFB! I’ll definitely be checking out your review this evening. As always, there’s so much to be learned even in the rare case of disagreement.
I’d also be interested in hearing your position on the Ang Lee film!
Yes, it’s all a learning process.
Ang Lee’s film is about the phenomenon of transformation – of a person and of the whole nation. This malleability of sexuality and of attitude that marks the coming of age of a whole country, thanks to the war, is brought our wonderfully in cinematic terms in Lee’s films. The rigid, conventional houses of the town give way to a freer way of life where your house is where you sleep. The stereotype colours give way to a rainbow palette. On all fronts, one by one, rigid existing elements are replaced with more flexible ones. It’s a complete destruction of the old and the birth of a new.
The threesome scene in the caravan is the key. Hammy lines? Yes. But cinematically incompetent? N
The big news from the weekend, Sam, was I finally saw BRIGHT STAR…and I, well, just about as close to loved-it as one could love a film that didn’t exactly send them head over heels. In other words, brilliant direction and cinematography, a breakthrough performance from Cornish (though some of the other acting was shoddy in my eyes) and of course…those words of Keats put to such great use. It’s by far Campion’s best since THE PIANO and I would easily award it ****. It’s a shame this one doesn’t seem to garner much support in the Oscar circles…the cinematography and Cornish are most deserving of nods (and if they would open up the director’s category to ten like Best Pic, I would give Campion a nod as well).
Well David, this is thrilling news. I’ve been waiting to hear it for several weeks! I can certainly accept that 4/5, although as you know it was my own film of the year. But your reaction here only points to the level of passion, as we agree on the complicity of the components here. I would love to see Campion up for Best Director, Ms. Cornish for Best Actress, and the other great performance in the film by Paul Schneider as Charles Armitage Brown, Keats’ good friend who does some narration here. Schneider actually as you may recall, won Best Supporting Actor from the well respected National Society of Film Critics for this excellent performances a few weeks ago. Also as you mention, some of the techs here are ravishing including the art direction and costumes. Thanks for making my day.
Well Sam, as you know I’ve compiled my top 21 Animated Films.
Aside from that I’ve managed to catch Kiarostami’s Shirin ***1/2 (thanks to Just Another Film Buff), which is very interesting, thought-provoking stuff, and Park Chan Wook’s Thirst **** which is thoroughly enjoyable in its unpredictability.
Stephen, I am no fan of THIRST, but I fondly recall a spirited discussion of it months ago at LIC, where I reported by disdain and was strongly contested. Oh I know SHIRIN well now after that spectacular review by JAFB, and will soon be moving to acquire it on amazon.
As I stated at your site, that was as eclectic and distinguished a list of animation as I’ve yet seen! Congrats to you.
On balance, I would probably rate “The Girl On a Train” a little bit less than you do, Sam. I was lucky insofar as I did not know what the central conceit of the film was prior to going to see it. Hence, I quite enjoyed the ambiguity of the first half. It reminded me a little bit of “Heartbeat Detector”, without the accompanying weirdness that left me completely unsure about that latter film (must re-visit it one of these days).
I also thought that Nicolas Duvauchelle gave one of the best supporting performances that I saw last year. A guy to watch…
Unfortunately, the second half of the film would probably have been better used having a snooze. It was better than such a remark might suggest, of course. Rather it is my reaction to a good opportunity getting blown.
As a result, it is possible that if I ever see it again, I might like it more.
*********
Have not seen “Edge of Darkness” yet. However, it is garnering a few 3-star ratings from credible reviewers and that is usually enough to tempt me to go watch a thriller.
“Unfortunately, the second half of the film would probably have been better used having a snooze. It was better than such a remark might suggest, of course. Rather it is my reaction to a good opportunity getting blown.”
LOL Longman! But you have a good point. Techine obviously is in his element with gay themes, and this film of course was mainly concerned with other issues, which don’t play to his particular strenghths. Yes, Duvauchelle was quite good, and agreed the latter part of the film was less interesting. Perhaps my star rating was too high, as I really didn’t care all that much for this, but admire Techine’s previous work.
EDGE OF DARKNESS is a passable entertainment, but not much more than that.
Thank You!
Actually saw Edge of Darkness tonight. Oh dear… A stale and turgid film that failed on various fronts for me. Have not been that bored watching a film since the remake of The Day The World Stood Still! The line about Jesus, the nails, and the cross was funny though!
I spent pretty much all weekend marathon-coding/writing/designing in the Global Game Jam event. Roughly one half of the 48 hours was spent brainstorming and experimenting with a Java-based physics engine for inspiration with my team-mate, and the other half was spent in non-stop Flash dev-work and script-writing– not ActionScript programming, mind you, but penning the dialogue for interactive conversations. And amidst all those exhaustive, sleep depriving efforts, I still managed to find the time to go to the theater and see a goddamn movie.
That movie was “Edge of Darkness”, by the way, and while I still have to watch the original mini-series, I couldn’t help but adore the film. I imagine quite a lot is changed in adapting a 6 hour television work to a 2 hour film, even if it is from the same director (look at how different Michael Mann’s “Miami Vice” series and movie are to one another), the film holds up damn well on its own. Predictable as hell, and yet paradoxically shocking at its punctuating action-beats, amidst all the musings of slow-burn fuses. The TV version’s probably better, but it’s still the best thing I’ve seen in theaters in a while.
Well Bob, you threw me for a loop there with all that technological immersion this weekend, but it does sound like quite an accomplishment! We’ll have to clarify some of this further.
Wow, you really went for EDGE OF DARKNESS in a big way! There were certainly some riveting scenes (most with Huston and O’Hare) but it reminded me of John Grisham, and not really in a positive sense. But you speal eloquently here, and I’d like to hear more. Thanks exceedingly for the contribution.
What it reminded me of more was “No Country For Old Men”– the same basic pattern of slow-burn drama and action catharsis, only with metropolitan conspiracy theories instead of western cat-and-mousery. Save for the daringness of the ending in the Coens’ film, I vastly prefer Campbell’s work in “Edge”, to be quite honest. Yes, it’s predictable even for a revenge thriller, but damned if I didn’t jolt out of my seat more than couple of times. Again, I still have to see the original, but this is a movie I’ll see again in the theater, without hesitation.
I doubt many will be interested, but here’s a link to my game from this past weekend. I may write and talk a lot about movies, but in the end gaming is the medium I’m much more interested in, at least when it comes to getting my hands dirty, creatively speaking: http://www.globalgamejam.org/2010/waffle
Sam thanks again for the kind words for 24 Frames and Watching Shadows of the Walls, (oops, did I just innocently mention my new blog?). Seriously, thanks again!
This week there were no theater viewings. Last night, after painting all day, the walls not a canvas, I managed to squeeze in SADDLE THE WIND (**1/2), a western with Robert Taylor, a young John Cassavetes and Julie London in a thankless role. An okay western, the real highlight was the cinematography by George Folsey. Also watched STREET SCENE (****) earlier last week, my review is up at 24 frames on that one. Last, but not least I saw CONFESSSIONS OF A NAZI SPY (***1/2) with Edward G. Robinson (thanks Sam) which I will be reviewing later this week. I am listening to the audio book PAUL MACCARTNEY: A LIFE by Peter Ames Carlin. A worthy addition to the hundreds of books on The Beatles.
John, actually I’m glad to brought up that other blog, as I do need to add that tonight to the blog roll, and to check up there regularly. I was just over at your excellent review of Vidor’s STREET SCENE, and I’ll be looking out for CONFESSIONS OF A NAZI SPY and SADDLE THE WIND!
And still you soldier on with the reading, and that McCartney book. You are one amazing guy!
I avoided that Mel Gibson film like the plague, but it seems you didn’t exactly pan it, giving it a passable grade. I’d be interested in seeing ‘North Face’ but it didn’t make the trek across the river yet.
I wasn’t surprised about Bigelow. It appears that Oscars are heading ‘The Hurt Locker’s’ way. It’s modest performance at the box office won’t figure in as I see it.
Good to see you are coming back. Follow the rules buddy
I’m also interested in “North Face.”
Joe, the Bigelow win was hardly unexpected, but it’s all the more thrilled that a woman has finally captured that prestigious citation.
As I said earlier, the Gibson film is somewhat of a gulity pleasure. Thanks as always for your valued input, my friend.
Sam, thanks so much for the link and your incredibly kind words!
I had a pretty solid weekend, actually. The local (Shreveport, LA) arthouse screened a print of TAXI DRIVER which I attended. I continue to have great admiration for the cinematic inventiveness and tremendous vitality Scorsese and the team brought to the film. And, of course, I can’t help but admire the terrific performances, too.
I caught up with AMREEKA yesterday. These performances (particularly Muna’s) also really got to me. I found them to be unusually lived-in and real for a film of this size.
I’m currently in the middle of re-watching BEFORE SUNRISE, a film that seems to have influenced as many American indies in the last fifteen years as any other film. It didn’t really grab me the first time I saw it so I thought I’d re-visit and see if I had a different experience.
Tonight, I’m off to see BAD LIEUTENANT: PORT OF CALL – NEW ORLEANS.
Thanks again, Sam! Your work is greatly inspiring. I feel fortunate to have found you and this wonderful group of cinephiles.
Jeffrey:
First of all, I must again thank you exceedingly for your astounding graciousness and remarkable humility. There is no man who deserves success more than you. You are a true prince. Well, I am with you on BEFORE SUNRISE, which just never worked for me, even on repeated viewing. Far more effective (and I think you pointed this out yourself) is Jean Eustache’s THE MOTHER AND THE WHORE.
Ah, AMREEKA! I liked that quite a bit, especially that ongoing deceit with that appealing lead character working in the White Castle, while her family thought she was a banker. But the cross cultural elements were vivid and affecting, methinks.
TAXI DRIVER of course is an American masterwork, and nobody sizes it up better than you did there in that astute and appreciative capsule!
I must say I am looking forward to your reaction to Herzog’s film, which made my own ‘honorable mention’ list for 2009. I don’t think Cage has ever been better, and surrealism was sused to striking effect. I’ll definitely be at your place tonight!
Again, thanks so much!
Hey, Sam, just recently returned from BAD LIEUTENANT: PORT OF CALL – NEW ORLEANS (wow, even that zany title fits.) I really, really liked it. I agree, Cage is wonderful, and the film has this energy that just engulfed me. It’s one of these films where I’m not even sure how it works, but it did for me, in a really unique way.
Thanks again for all of your kind words. No need to thank me, ever, for being here. I’m just happy to be in such great company.
As always, thanks for the mention, Sam. Was intrigued by your review of EDGE OF DARKNESS. Have you seen PAYBACK? The trailers for Gibson’s new film are giving me deja vu of that older one.
Hey J. D.! Yes I’ve seen PAYBACK, and there are surely some similarities, though I’d rate the earlier film higher in a general sense. The new film is formulaic, and it treads some very familiar territory with predictable results. Still I’d say it’s worth a single viewing. We can certainly do worse.
Thanks so much for the comment, J.D.!
I’ve got a new one up, Vischonti’s The Damned, another film that often needs a good defense.
I should have seen more films this weekend than I did, but just never made it out. We did watch a wonderful indie film developed in a Mike Leigh-esque workshop called Girls Town (1996), about three girlfriends who deal with a painful loss and their impending liberation from high school. Lili Taylor is the name actor in the film, but surprisingly, she wasn’t the best thing in it. Those honors went to her costar Anna Grace.
Marilyn, thanks for that heads-up! I know that Visconti well, and I’ll be reading that review tonight.
I did see GIRLS TOWN, and I’m a card-carrying member of the Mike Leigh fan club (so to speak) so I found the delights in that one, including the rightful accolade for Ms. Grace. But Ms. Taylor is arguably as affecting in this cinema-verite styled drama, where acting and dialogue trumps style. This was an impressive turn for Mr. McKay.
List, list, O list! (now that Leigh has been mentioned)
Mike Leigh
1 Vera Drake
2 Life is Sweet
3 Happy-Go-Lucky
4 Secrets and Lies
5 Naked
6 High Hopes
7 Topsy Turvey
8 Career Girls
Glad to see you are feeling better. I understand the Oscar nominations will be announced tomorrow morning. Are their any surprises in the mix? Or will it be dullsville again? I agree with Joe that The Hurt Locker looks to be the one to beat.
I’m afraid Frank, that there won’t be any surprises. And gess what? Everyone in the world already knows the winners of the top six awards. How’s that for an anti-climactic scenario?
Best Picture: The Hurt Locker
Best Director: Kathryn Bigelow, The Hurt Locker
Best Actor, Jeff Bridges, Crazy Heart
Best Actress, Sandra Bullock, The Blind side
Best Supporting Actor: Christopf Waltz, Inglourious Basterds
Best Supporting Actress, Monique, Precious
Sam, I can’t reach you by e-mail at the moment but wanted you to know I’ve rescheduled the post for Wednesday, as there are still some issues to work out. Hopefully they are resolved by then.
Hey Joel, I understand. I am looking forward to that post for full disclosure. Thanks for the heads up, but as you know, whatever is good for you is good for me.
Well, a few things… The Grammy’s were absolutely abhorant last night. My best and biggest client happens to produce and distribute the Grammy’s and, while driving him back from JFK airport admitted the show was an entertainment bomb. I managed to scoot out to the Edgewater theatre, thanks to the availability of my mother’s car (she’s in Florida this month with Dad) and saw CRAZY HEART. Jeff Bridges central performance as a guy named “Bad” could be one of a long string of superb turns by this most reliable and likeable actors. A career of life-lessons is evident in Mr. Bridges turn as the boozing bar-room country singer and, aside from his career defining turn in THE BIG LEBOWSKI proves to be his finest performance. Oscar is in the bag, finally, for the Dude. I was smitten by the world weary turn of Maggie Gyllenhaal as the younger woman who sees a spark of integrity in the big lug..
I still like him best in THE LAST PICTURE SHOW, but there’s no doubt what it did here in CRAZY HEART rates among the best work of his career.
Thanks a lot Sam for the appreciation.
As I’d mentioned last week, I was in vacation at the Sundarbans last weekend – a dense mangrove forest & home to the famous Royal Bengal Tigers. Well, one must be either very lucky or very unlucky to catch a glimpse of the big cat. And I was neither. But I did manage to watch crocodiles, deers, wild boars & lots of birds. The forest if also famous for honey & date palm jaggery, which I got hold of in ample quantities. Yeah, it was a terrific experience allright.
So, inevitably, I didn’t get to watch any movies last weekend. But I did watch one after office today before returning home – a Hingi movie called Ishqiya, the same movie that ‘Just Another Film Buff’ has reviewed at his blog.
On the books’ front, I’m planning to start Truman Capote’s In Cold Blood. Have been wanting to read it for quite sometime now – in fact since I watched the movie Capote when I was in college.
Shubhajit: That’s the experience of a lifetime! Wow! You certainly saw enough to make up for the Bengal. The closest I’ve come to what you saw there was accomplished in local zoos, and that’s nothing remotely like what you saw. I think you are exonerated for not seeing any films under these circumstances!
I definitely will be over at ‘Just Another Film Buff’s’ place tonight to read all about the Hindi film you speak of here.
And of course, Capote’s IN COLD BLOOD is a riveting, can’t-put-it-down page turner that is widely considered on the finest novels by an American in the 20th Century. I do look forward to your specific reaction. The Richard brook film is quite good by the way. Thanks as always for the spirited response at this thread!
Thanks for following along with my year-end roundup, Sam.
So your thoughts on Edge of Darkness offer a tepid recommendation at best – think I’ll still wait to catch up with that one. Boy, this time during the year is really weak in theaters. I’ll be fascinated to find out what you see next week!
Thanks Daniel. I know this is traditionally the weakest period for movie goers, but in other years we at least had some strong foreign and independent entries lurking around some of the art houses. But this year we’ve gotten little in that department too. I’m not sure what opens next week, but I have my fingers crossed.
I was also afforded a screening, at Schmulee’s marvelous home theatre, of Kathryn Bigelows THE HURT LOCKER (on Blue-Ray, no less). In my humble opinion, I’d say the race at the Oscars in the PICTURE and DIRECTOR categories are OVER. That Bigelow has embued this film with the fail-safe pacing, editing and choreography of her more well known action pictures and, all the while, doing this while making deep statements about addiction and the senselessness of War, turns this film into a veritable powder-keg. We have, over time, forgotten that we still have boys out in Irag that face the kind unknown treachery that can, literally, blow up in their face at any second. The lead performance, by Jeremy Renner, is, at once, realistic, brutal and heartbreaking. He would be a very deserving nomination in the BEST ACTOR category this year. I loved AVATAR, but I was assaulted by THE HURT LOCKER. This is unforgettable film-making. THE BEST PICTURE OF 2009!
Dennis, I do like THE HURT LOCKER quite a bit, but it didn’t make my Ten Best list, oddly enough.
Well, it doesn’t sound like much worth seeing is currently in theaters and that’s unlikely to change until SHUTTER ISLAND, in a few weeks.
As for me, I had too busy of a week to do much blogging, but I’m trying to make up for it in the last 24 hours.
I watched
THE LIMITS OF CONTROL
TREELESS MOUNTAIN
THE FANTASTIC MR. FOX
Reviews for all three are up now on my blog. I adored FOX, very much liked the emotional TREELESS, and was perplexed by LIMITS. Go check out the reviews for more…
— In addition to those three, I sort of watched OF TIME AND THE CITY. I started watching, got sidetracked with some work that I had brought home, and yet still felt some sort of enrapture just from the music and the dulcet tones of Davies’ voice. It got me to poke my head up enough times to know something emotional was going on, but I definitely need to rewatch this before giving final judgment.
Outside of that, I attended one Blazer game (a horrible game against the Jazz that saw the Blazers jump out to a 21-2 deficit, that blossomed to 37-16 by the end of the 1st quarter), spent all too much time watching a streamed wrestling PPV (keeping my up until 1 AM last night), and worked on choosing items to put together a baby registry. My wife was sick for most of the week, so GILMORE GIRLS was on the TV much of the time, although I’m probably one of the few males willing to admit I’m okay with that show. Is that an odd enough mix of things to be paying attention to?
Troy, sorry to hear that Tricia wasn’t well this weekend, and hope she is feeling better today.
I certainly will be over to your place to check out your latest post. And I also hope that at some point you’ll revisit OF TIME AND THE CITY, which I do myself rate highly. Davies is one of the greatest contemporary filmmakers.
Why is it that I don’t like TREELESS MOUNTAIN more than I do? Well, I’ll see exactly what you have to say. That Jarmusch has some issues, but I know a number of bloggers are mightily impressed/smitten with that film.
FANTASTIC MR. FOX is charming, and I can well imagine the reasons you’ll be providing as to what you liked best about it.
You’re a good sport with the GILMORE GIRLS Troy, I’ll say that, but I’m sorry to hear about that Trail Blazer loss. How about our Nets? 4 wins the whole year?!? Ha!
As always, a splendid round-up!
SHUBHAJIT-Dont wait. Run to the nearest book store and grab IN COLD BLOOD! The book was, years ago, a personal revelation to me. I had, at the time, not known of its TRUE STORY origins. After reading it I couldn’t believe that the level of detail, not just in the surrounding and pysical descriptions, but the personalities, was real. Through his intense emmersion into the environment of Holcomb, Kansas, he writes of the dead as if he actually knew them. Truman’s boast of 94% recall of conversations with his interviews must’ve been on the money because he captures every nuance and inflection in the words and the voices of the people. That it also works as, probably, the greatest American horror novel adds to the total mood, almost dreadful, of the piece. Perry Smith, the main character, target of Trumans literary/narrative interest (as well as his romantic affections) is one of the most unforgettable people in literature. IN COLD BLOOD is a riveting read, one of the great books of the 20th century!
Great for sure, but perhaps not as great as TO KILL A MOCKINGBIRD by Harper Lee, which was written at the same time, but one of Capote’s best friends.
Late to the Diary again this week, but better late than never. Thanks for the shout out on the noir countdown, Sam, as things are now progressing into some awesome movies. I’m having a blast rewatching them and then jotting down some thoughts. And it’s also been fun to have everybody involved commenting — you, John, Tony, Samuel and the usual suspects.
Thanks to two blogs I now frequent quite regularly — Jeffrey Goodman’s The Last Lullaby and Doniphon’s The Long Voyage Home — I’ve gone off on Michael Mann and Brian De Palma kicks. I’ve always considered myself a Mann fan, but not so much De Palma except for a few spots. But I’m revisiting a lot of their work now and am quite enjoying it. I understand the complains that a lot of folks have with De Palma, but I have to admit that I’m now starting to appreciate how effective he can be with just a camera. By this I mean just the ability for compelling storytelling without any dialog, conversations, etc. It really is impressive. Plus, I’m still for whatever reason, thinking about The Black Dahlia. I know the movie was panned mercilessly by critics, but it has a bizarre hold on me. So, over the weekend, I watched these movies:
– Thief (Mann)
– Miami Vice (Mann)
– Femme Fatale (De Palma)
– Blow Out (De Palma)
– The Royal Tenenbaums (Anderson)
Tenenbaums I’m still not quite sure what to make of…
Dave, the countdown is really heating up, and it’s understandable that you’d be watching some of the films still in contention. That should definitely be your first priority. I still need to get over to Doniphon’s place, but of course Jeffrey Goodman is a gentleman and a scholar (and a prime motivator.) And for a man to be where he is to have the kind of humility he has, well there is some beauty in this world. I saw your entries there on his ‘special features’ post, and they are gems. Of those films you saw, I personally like THIEF and BLOW OUT best, but TENENBAUMS is a lot of fun (though not any kind of a masterpiece).
If THE BLACK DAHLIA maintains that kind of a hold, well then its one you need to revisit and stand behind!
FRANK-I agree with Sammy on most of his points. It would seem the big 6 are etched in stone. Looks like a predictable Oscar telecast. However, there’s one theory that could rear its head. Oscar often pulls a surprize in an acting slot. If this were to occur, and I hope it does, one of locks in the acting categories will fall. Monique, Christopf Waltz and, particularly, Jeff Bridges are so in its scary. Sandra Bullock is the favorite for BEST ACTRESS. But Sandy hasn’t raked in the critics prizes like the other three have; she only got the GLOBE and SAG. Meryl Streep is out because she is hated by the Academy. If the voters decide to pull a rug (doubtful), they’ll pull it out from under Bullock. Her turn is pedestrian at best; its her popularity and dues that make her the heavy. Don’t be surprized if the ACTRESS prize goes to Carey Mulligen. She won unanimous raves from the critics as well as a few prizes. Hers is the best in the category. Oscar could give it to the best by default.
Yep Dennis, if there is to be an upset it will be in Best Actress.
DAVE-THE ROYAL TENNENBAUMS is a tough film. Viewers either LOVE it or DESPISE it-doesnt seem like too much in-between. THIEF is a forgotten gem. Micheal Manns first foray into big screen film-making has all the style and slick grittiness that fore-shadow films like HEAT and shows like MIAMI VICE. But what separates THIEF from the rest of his films, and ultimately makes it his best, is the heart felt in it. There is a knowing worldliness in the character of Frank. He’s a man of great longings and dreams he hopes to finally realize. James Caan gives his BEST performance as that family hungry ex-con who only wants to be left alone to achieve his goals. Combined with Mann’s rock-n-roll style pacing and editing (aided by a superb techno score by Tangerine Dream), the tension relating to Franks realization that his dreams are dead take on a desparation that has never surfaced in a Mann film since. This is a deeply felt human drama that uses its slickness and coolness to draw you in. A GREAT FILM!
I agree with you, Dennis, Thief is an outstanding film… great work by Mann and a great performance from Caan. And I especially think you’re right that you can see where his work here would lead him to eventually doing something like Heat, which I still slightly prefer to Thief. I’m just glad that I finally got around to watching this one. I’m a sucker for a compelling crime or gangster drama and Mann is very good at them.
I will stick my 2-cents in and agree, “Thief” is a “forgotten gem.” Caan is superb here and Tuesday Weld should also be given her due. A very good actress who never seemed to get the right role that would propel her to the top ranks. check her out in Lord Love a Duck, Pretty Poison, The Cincinatti Kid, Play it as it Lays and even a TV movie called “Reflections of Murder” which is a decent remake of Les diaboliques.
SCHMULEE-I LOVE Bridges in LAST PICTURE as well. His turns in THUNDERBOLT AND LIGHTFOOT, STARMAN, FABULOUS BAKER BOYS, THE FISHER KING, TUCKER and FEARLESS all rank as some of his best and most interesting work. But, CRAZY HEART has that lived in feel. Its almost as if he were born to play this guy. Bridges seems, to me anyway, comfortable in the skin of this guy “Bad” Blake and I don’t see a trace of his other turns in him. Sometimes a actor finds a role he was born to play (Denzel had MALCOLM X, Jack had CUCKOO’S NEST to name a few). But Bridges is a lucky one and grabbed two. Like opposite sides of the same brain, so are his perfect turns as world weary-guys in CRAZY HEART and THE BIG LEBOWSKI. He should feel blessed that he’ll be remenbered forever for both. I prefer LEBOWSKI (I think he nails it), but CRAZY HEART comes damn close. He knows these two guys…..
Dennis, you provide an excellent overview of Bridges’s career here! Bravo.
You know Sam… I like Brooks filmic version of IN COLD BLOOD. It tells the story well and it puts a face on Perryb and Dick. Seeing them helps sell the unsettling truth that Perry really acted alone, pulling the rug out from under us quicker than the reading. But, its Capotes detailed, WORDED description of the setting and the people of Holcomb that is the star attraction of the book and something Brook could NEVER fully bring to screen. I think Brook came as close as anyone will to bringing Trumans words to life. However, IN COLD BLOOD, like the handful of truly great American novels of the 20th, are masterpieces of carefully, yes poetically, constructed sentences. As if the feeling poured from the heart to the hand to the pen. No film could ever compare to the experience of reading IN COLD BLOOD.
YES YES, AGREED SCHMULEE!!!!! MOCKINGBIRD JUST EDGES OUT BLOOD BY A HAIR!!!!! Funny too, the little boy that Harper Lee writes about visiting her in the summers, Dill by name, is really that effeminate little boy of her real youth… None-other than Truman Capote himself!!!!!!!
Actually Sam, Truman had just started his investigation of the Clutter murders when Nell (Nell HARPER LEE) published TO KILL A MOCKINGBIRD. Trumsan labored, torturously, on the writing of IN COLD BLOOD for, was it?, three years before the printing presses went to work and the book was released. Its common knowledge that Truman was, though reluctantly torn by his affections for Perry, hoping that the judges and courts would send the boys to the noose so he could write an unforgettable denoument. That the boys were consistantly realizing appeals that held up their sentencing tore poor Truman to emotional shreads.this is all documented in interviews in that giant biography on him. He drove himself into long alcoholic suicide because of this. After IN COLD BLOOD he was never the same again. His greatest triumph became his biggest burden of morality. That book killed Truman Capote. Its one of a few true masterpieces.
Reading Trumans biography, its amazing to see the section of experiences during IN COLD BLOOD come to life on screen. There have been two Truman films over the past few years but its CAPOTE that really nails Truman as a person and character and looks in great detail the facts behind the writing of BLOOD. While other actors RESEMBLE Truman more on a physical stance, its Phillip Seymour Hoffmann who captured Truman emotionally/spiritually as well as physically. Watch him as he shifts his eyes during the interviews with Perry and you can see his wheels turning. He knows that this book will work with them dying. Its then, in Hoffmanns performance, taken from Truman’s own testimony, that you know he’ll withdraw aid to the boys defense so they’ll hang and give him the ending he needs. Truman was no moralist. Its that cunning immorality that not only made him a socially fascinating and subtly perverted celebrity, but the condemner of two very sick, violent men. His love for Perry wasn’t as great as his want of fame.
Howdy Sam,
I’ve been watching….
The War*** – Ken Burns ambitious WW2 documentary. It has some sumblime passages and gathers momentum, episode by episode, coveying the contribution of four towns, there tragedies, fears and hopes. The industrial statistics are amazing, the marriage between the personal stories of soldiers, their families and friends and the big scale movement and tactics of figures like Patton segway after the first couple of episodes. But it’s in the little details of motivations and feelings where it really comes to life and touches a universality. For instance, the reason some wanted to join the war was to get out of their community and see something of the world. Or the soldier who admits to being afraid of going on missions but can’t bare to let down his comrades. Some of the stories are heart-breaking.
Heroes – Season 4 premiere episode.
Mad Men – Season 3 first two episodes.
Caprica – Battlestar Galactica prequal, 1st episode.
The Mathematics of Chaos**** – a superbly put together science documentary that explains ‘the butterfly effect’ or ‘chaos theory’, by following the key dicoveries of mathematicians, physicists and their ilk, with a theory that covers, with only a smidgen of imagination everything from evolution, to the weather, to relationships, the the development of all technologies and arts, warfare. EVERYTHING. By the end, i had paradign shifts and perceptual breakthroughs that few drugs can provide and only the true sense of wonder that science or SF can provide.
A Woman Under the Influence*** – A woman’s erratic behaviour signals the onset of a nervous breakdown, and her blue-collar husband has to take charge.
Devoid of all glamour or hints of Hollywood, the lighting is functional and drab, the music sparsely deployed, the hand-held camera-work gives it immediacy and the shots are held so long that they give the impression of catching real-life. Edgy and improvisational, only the last 15 or 20 minutes seem unworthy. I found Gena Rowlands performance slightly off kilter, melodramatic but Peter Falk steals the show conveying a blue-collar masculine steel surface, over a tenderness.
On Dangerous Ground** – A tough and brutal detective with a complex about hurting criminal types, is sent to a snow-covered state to help capture a wanted criminal.
Reminiscent of Siegal’s ‘Coogan’s Bluff’, but in reverse with the cop leaving the big city, this is an incrediably tight, fast-paced and enthralling noir told in a quick succesion of scenes and memorable images, that doesn’t stop for a beat, and one of the director’s best, but the romance is insufficently developed and the hunt and moral dilemma made irrevelent by the resolution. Herrmann’s score thunderous score is sheer heaven.
Alias Nick Beal***
more to come on this.
They Drive By Night** – The youngest of escaped criminals, separates from them, falls for a girl but finds his old comrades won’t allow him to go on the straight and narrow.
The first half of this noir has a toughness and is creatively directed but it becomes soft along the way and ends up reminscent of older models of criminals trying to change their way but being gunned down by the remorseless law. Made me want to watch ‘Bonnie and Clyde’.
Hey Bobby, it’s great to hear from you as always, and these capsules are beautifully presented here.
Needless to say, I am a huge fan of Ray’s ON DANGEROUS GROUND, and that “thunderous” score you speak of is precisely that. It’s a piercingly romantic score of exquisite beauty – one of the greatest ever crafted in the history of the cinema – and it serves as a counterbalance to the almoast nihilist melancholy playing out in the narrative. I though Ryan and Lupino (and Bond) were extraordinary, and Mr. Diskant’s cinematography magnificent. Our very good friend, Dave Hicks at GoodFellas just reviewed it for his countdown and many of the noir fans of this site including Tony and John commented:
http://goodfellamovies.blogspot.com/2010/02/77-on-dangerous-ground-nicholas-ray.html
Anyway, for me it ranks with IN A LONELY PLACE as Ray’s greatest film.
I’m assuming that you are speaking here of the American THEY DRIVE BY NIGHT, and I fully agree with your estimation here.
THE MATHEMATICS OF CHAOS sounds most intriguing and your four-star rating really goes a long way, as you are not one to give out free passes. I’ll have to check into this!
Dead-on appraisal there of the Cassevetes, though FACES remains my favorite of his works. Still, your descriptive of the hand-held camera and its edgy and improvisional essence is a general assessment of Cassevettes’s cinema.
I still haven’t tackled those famed television series (and I am ashamed I haven’t looked at even one MAD MAX episode, with all the adoration at this site) but I have been meaning to look at THE WAR for some time now, as I am a HUGE fan of THE CIVIL WAR, BASEBALL, JAZZ and THE WEST. Your exceptional response here is the final impetus.
I can’t wait to hear what you say on ALIAS NICK BEAL as I know you have been waiting for a long time to see that.
Wonderful, wonderful contribution here Bobby!
Bobby J
Any thoughts on the Caprica series after two episodes? I’m trying to decide whether or not to watch (Tony D’Ambra seemed to have liked it so far).
Troy, I’ve only seen the first episode and will watch the 2nd come this weekend. It sure looks good (reminiscent of ‘Gattaca’) and has intriuging strands. I haven’t seen the BSG series, so this will have to stand up or fall down on it’s own merits. I plan on watch BSG in the coming months.
Same here. I never watched the “Galactica” remake, so I’m wondering if I should start watching that, or if I could enjoy by starting with the prequel series. Also, I haven’t been able to find the Pilot-Miniseries DVD of the remake anywhere, so I wouldn’t be able to start from the beginning.
Bob
I know enough to say that the BSG remake series can safely be watched before watching the prequel. In fact, I’m guessing a lot of the stuff in the new Caprica series will be like fun little easter eggs for those who watched BSG.
As for finding that pilot to BSG — yeah, it helps a lot to see that before continuing into the rest of the series. I’m surprised you are having trouble finding it as my wife just watched it with a friend a few weeks back…isn’t it just the first disc from the Season 1 DVD set? I’ll have to go check my copy to see…
Troy, I’m not talking about if BSG can be safely viewed without “Caprica”, but rather the other way around. Am I more likely to enjoy this new series on its own, or not? It probably boils down to a matter of opinion, though, and my main motivation right now for avoiding the initial BSG series is mostly tied to money. I’d love to see it some day, but right now, “Caprica” is duty-free television. Hard to argue with that, unless it’s only really enjoyable for those who’ve seen the original.
I’ll check out the Season One set, though, to see if the miniseries is included there. If so, maybe it’s cheap enough by now to be worth picking up. I really have no idea why I didn’t watch this show when it was originally on the air, by the way.
whoops, sorry for the typos- no contacts in…
Sorry to be so slow in thanking you for the mention, Sam (working night shifts this week has addled my brain), but I do appreciate it all the same, and enjoy following the postings here even when I don’t have time to comment. I would say put a bet on your Oscar predictions, but I don’t think you’d get very good odds…
Hey Judy! No need for apologies at all, as this thread is always contingent upon spare time. As it is you are here far more regularly than this post deserves. I thank you for all you have done here. As far as the Oscar betting, it’s true, I wouldn’t get good odds. Now some people are saying Clooney could upset Bridges, but I really can’t see that happening. I’m looking forward to your next review Judy. Sorry you’ve been burning the midnight oil there.
SAM-ITS SATURDAY NIGHT FEB 6th. CALL ME ASAP-BEEN TRYING TO REACH YOU ALL DAY…. THE BIG ONE CAME IN TODAY !!!!!!! YOU KNOW WHAT I MEAN!!!!! CALL ME ASAP!!!!!! Dennis
SAM-I WAS JUST AT YOUR HOUSE. NOBODY ANSWERS THE DOOR. I TRIED CALLING, YOUR PHONE GOES STRAIGHT TO VOICE MAIL. THE DOGS ARE BARKING, THERE IS NO DOOR BELL. MY KNUCKLES ARE BLEEDING FROM KNOCKING. I LEFT IT IN YOUR MAILBOX. CALL ME WHEN YOU SEE THIS…..