‘To Kill A Mockingbird’ shown at Jersey City Loews on Saturday
by Sam Juliano
Dave Hicks’s marathon film noir countdown is over, and the young man deserves all the credit and veneration that’s due to him for the tireless research, re-viewings and painstaking attention he focused on this noble enterprise for the better part of four months. Coming on the heels of his previous project, the annual countdown that launched with 1930, Dave has demonstrated an incredible resilience and committment, that has resulted in lists that many will now use themselves as reference tools. After admitting the overwhelming difficulty in choosing a Number 1 film between his two final choices, Dave went with Alexander Mackendrick’s Sweet Smell of Success (1958) as his top film, with Jacques Tourneur’s seminal noir Out of the Past (1947) as the first runner-up. Rounding out the top ten are: Kiss Me Deadly, Criss Cross, The Killers, In A Lonely Place, Double Indemnity, Sunset Boulevard, Rififi and The Asphalt Jungle. Dave is planning a final post, where he will discuss his agnonizing numerical placement, and the final decisions to disqualify some borderline noirs in his qualification process. Again, this was a monumental undertaking, and kudos to you Dave!
Down in the Bayou, filmmaker Jeffrey Goodman is also nearing the end of his own long-running series, choosing a best film of ever year in cinema all the way up to 2009, and Goodman’s bold and audacious choices have led to some terrific discussions in the comment sections, not to mention some fabulous personal; anecdotes of discovery and first-time viewings. It’s bound to be a spectacular finish at The Last Lullaby, as Goodman moves further on preparations for his new film Peril.
At Wonders in the Dark, Allan’s new millenium Top 100 countdown is already attracting loads of comments, though it’s just barely moved into the 80’s, with nearly three months more capsule essays ahead, as the polling winds all the way down to Number 1. Voters are urged to enter their own Top 25 at the corresponding tab over the site header.
Finally, last but by no means least, Dee Dee will be interviewing Film Noir specialist Tony d’Ambra on some of the greatest noirs in a post that will appear at Darkness Into Light (Noirish City) and WitD over the upcoming days. The chemistry between these two will no doubt result in a priceless converstion, and I simply can’t wait!
With a wedding occupying my attention on the prime viewing night, Saturday, I worked out a viewing schedule that included the afternoon of that same day, as well as an appearance at the Jersey City Loews Landmark movie palace on Friday for a screening of Robert Mulligan’s classic To Kill A Mockingbird with the kids, that proved to be a most memorable evening. At midnight I raced over to Manhattan to catch an exhilarating Asian feature The Good, the Bad and Weird, which appeared on the countdown last week, as per Allan’s great regard for it. I was disappointed with the latest James Ivory-Ruth Prawer Jabvala collaboration, The City of the Final Destination, though as always it’s lushly filmed and very well acted, (especially by Laura Linney) But it’s dramatic underpinnings are listless, with events failing to connect, and nothing ever reaching a boil. Having seen what we got with The Remains of the Day, Howards End, Maurice, A Room with a View and Mr. & Mrs. Bridge, lets just say that this is less than a minor footnote.
A superb Phillipine film, Lola launched the Tribeca Film festival on Thursday, and although I was rather disappointed not to win approval for a press pass, and was not thrilled with paying $19 a ticket, but still bit the bullet and attended the first of what will be four appearances at the festival this week with Lucille and Broadway Bob, including the highly-controversial Ticked Off Trannies With Knives, which may be picketed by members of the angry gay and lesbian community, who feel the film offers some slanderous stereotypes. I hope to have a review of Lola topping the diary here.
Lola **** (Thursday night; Tribeca Film Festival; Village East Cinemas)
The City of the Final Destination ** 1/2 (Sat. afternoon; Montclair)
The Good, the Bad and Weird **** (Friday at midnight; IFC Film Center)
To Kill A Mockingbird 1962 (Jersey City Loews; Friday night)
As usual, the blogosphere offers some great stuff:
Dave’s final post in the countdown, of course, is his stellar review of Sweet Smell of Success at “Good Fellas”: http://goodfellamovies.blogspot.com/2010/04/1-sweet-smell-of-success-alexander.html
Attention All Film Noir lovers!!!! Tony d’Ambra has a post at “FilmsNoir.Net’ that is essential. Recently, Tony was sent on a promotional copy from a DVD company, and Tony has given the set as comprehensive and honest a review you could hope to find anywhere. He does make claim though that 5 of the 7 classics here are better than the downloads. Check it out!: http://filmsnoir.net/film_noir/new-dvd-set-film-noir-collectors-edition.html
John Greco again has hit pay dirt with a superlative review of Nicholas Ray’s They Live by Night at “Twenty Four Frames.”: http://twentyfourframes.wordpress.com/2010/04/25/they-live-by-night-1948-nicholas-ray/
The worldly Coffee Messiah, Michael Hareford, has one of his greatest posts up, titled “Perplexed” where he displays a backdrop of ‘Ellis Island’ and a nifty blues piece on the soundtrack: http://coffeemessiah.blogspot.com/2010/04/perplexing.html
Dee Dee has several welcome announcements for the upcoming month at Noirish City (Darkness Into Light) but perhaps none as priceless as a rare interview appearance of Tony d’Ambra, who will be discussing the greatest noirs. It’s quite a planned, “can’t miss” forum!: http://noirishcity.blogspot.com/2010/04/coming-in-month-of-may.html
Troy Olson’s big trip is just about two or three weeks away, so he’s winding up some of his activities, though he’ll back in full gear when he returns I’m sure. He last ‘review’ post was quite an excellent one, and he examines Greene’s Undertow, Heneke’s The Piano Teacher, and the Romanian classic 4 Months 3 Weeks 2 Days. It’s great stuff. http://troyolson.blogspot.com/2010/04/best-of-2000-undertow-piano-teacher-4.html
Craig Kennedy has a most fascinating post up at Living in Cinema on the re-restoration of Fritz Lang’s Metropolis, which is also being discussed this month at Darkness Into Light. Great stuff here: http://livingincinema.com/2010/04/24/trailer-fritz-langs-metropolis-restored-again/
Jon Lanthier continues his pace-setting work (he makes a strong case for being the net’s best writer) at “Aspiring Sellout” with what appears to be a brilliant review of a documentary on burleque that I need to see, even with Jon’s half-hearted approval rating: http://aspiringsellout.com/
Judy at “Movie Classics” continues her banner work on the pre-code cinema of William Wellman. Here’s her newest essay on a film she considers on balance as one of the weaker ones in the lot: http://movieclassics.wordpress.com/2010/04/25/the-hatchet-man-1932/
‘Just Another Film Buff’ has another one of those exceedingly brilliant, scholarly posts up on ‘The Films of Sharunas Bartas,’ a Lithuanian filmmaker. It’s a must for serious film lovers: http://theseventhart.info/2010/04/24/the-films-of-sharunas-bartas/
Jeffrey Goodman’s monumental ‘annual countdown” is winding down with his latest post on 2004’s Million Dollar Baby at his place: http://cahierspositif.blogspot.com/2010/04/2004-million-dollar-baby-clint-eastwood.html
With spring and summer coming fast on lovely Maine Island, that talented artist and nature lover Terrill Welch has a new plan from May till September, where she plans to post at her Creativepotager blog on Tuesdays and Thursday. When one considers teh beautiful weather ahead, it sound like a sensible idea, and the flowers here are really feasts for the eyes: http://creativepotager.wordpress.com/2010/04/23/summer-is-coming/
Dan Getahun managed to see three films at the Mineapolis-St. Paul Film Festival amidst all kinds of bsy activity and major plans, and all things told, that quite an accomplishment. His excellent responses are here: http://creativepotager.wordpress.com/2010/04/23/summer-is-coming/
Donophon has embarked on an auspicious examination of the cinema of Jean-Pierre Melville, which was launched a few days ago with a superlative look at La Silence de la mer, which is really a must-read: http://thelongvoyagehome.blogspot.com/2010/04/jean-pierre-melville-le-silence-de-la.html
David Schleicher has a very unique post up at The Schleicher Spin on the most memorable “Feel Good” films. I found making my own list a fun challenge. Get over there!: http://davethenovelist.wordpress.com/2010/04/24/ten-feel-good-films/
Kevin J. Olson has a terrific review that I’ve read on John Hillcoat’s The Proposition over at his place: http://kolson-kevinsblog.blogspot.com/2010/04/quick-thoughts-on-john-hillcoats.html
Andrew Wyatt has penned yet another top-rank, marvelous review, and this time his focus is on the wondrous How to Train Your Dragon. I just read it myself, and was dazzled: http://gatewaycinephiles.com/2010/04/20/the-wyrm-and-his-boy/
Longman Oz, prolific as can be, has a head post up on the upcoming Dublin dance festival: http://noordinaryfool.com/2010/04/25/dublindancefestival2010/
Ed Howard examines Robert Altman’s dance-themed film The Company in yet another brilliant essay at “Only the Cinema.”: http://seul-le-cinema.blogspot.com/2010/04/company.html
Marilyn Ferdinand’s latest superb essay on Michael Tolkien’s The New Age, includes a Q & A with the director. Great stuff here!http://www.ferdyonfilms.com/?p=4236
Shubhajit has another excellent capsule on on Richard Linklater’s Before Sunset at “Cinemascope”: http://cliched-monologues.blogspot.com/2010/04/before-sunset-2004.html
Samuel Wilson has what appears to be another must-read essay up for the “Bad Girls of Film Noir” set, entitled Women’s Prison at “Mondo 70.”: http://mondo70.blogspot.com/2010/04/womens-prison-1955.html
Adam Zanzie is back reviewing movies and he has posted this week what appears to be a definitive essay on The Adventures of Milo and Otis at his place that I need to read as soon as possible: http://iceboxmovies.blogspot.com/2010/04/adventures-of-milo-and-otis-1989.html
R.D. Finch at “The Movie Projector” has penned an excellent review of No Regrets For Our Youth, a 1946 Akira Kurosawa film: http://movieprojector.blogspot.com/2010/04/no-regrets-for-our-youth-1946.html
Matthew Lucas’s latest post up is a fun one on the “Best Worst Movie” at “From the Front Row”: http://fromthefrontrow.blogspot.com/2010/04/review-best-worst-movie.html
J.D. at Radiator Heaven praises the screenplay in The Missing Person DVD: http://rheaven.blogspot.com/2010/04/dvd-of-week-missing-person.html
Tony Dayoub pens a brilliant post on the value of the recent Criterion DVD releases of a Godard and Asayas film at “Cinematic Viewfinder”: http://www.cinemaviewfinder.com/2010/04/blu-ray-review-criterions-vivre-sa-vie.html
Stephen’s latest is a thought-provoking look at Robert Bresson’s Le Proces de Jeanne d’Arc at “Checking the Sausages.” http://checkingonmysausages.blogspot.com/2010/04/le-proces-de-jeanne-darc_7776.html
Indian culture always gets the most impassioned attention by Kaleem Hasan at his glorious Satyamshot blogsite: http://satyamshot.wordpress.com/
Jake Cole continues to write…and write…and write. But it’s all great stuff, and his latest is on The Loser: http://armchairc.blogspot.com/2010/04/losers.html
Our friend Anu makes a superlative case for Akira Kurosawa’s Kagemusha as the great director’s most underrated piece. http://theconfidentialreport.wordpress.com/2010/04/10/kagemusha/
The esteemed Film Doctor’s “Links” still heads up at his place: http://filmdr.blogspot.com/2010/04/links_20.html
Ans then there is silent and animation writer extraordinaire, T.S. of “Screen Savour” whose latest Buster Keaton review on Steamboat Bill Jr., is a “must read” with a capital M: http://www.screensavour.net/2010/04/steamboat-bill-jr-1928.html
Thanks for the plug, Sam. I see the countdown is creating waves, with a set of top notch comments on The Dark Knight. Wanted to see Lola and Kinatay some time ago, but couldn’t. Will keep my eyes open. Thanks so much for the heads up.
Have to catch up with some more comments…
Thank You JAFB! I hope that LOLA becomes available by you, but at this point it’s just making the festival circuits.
It was wonderfully long weekend full of relaxation, gambling (damn AC!), baseball (damn Phils!), writing and movie viewing – you know, the usual suspects.
Here’s a quick round-up viewing-wise:
ON DVD:
Hunger — **** – Extremely well made and artfully done film about the IRA prison hunger strike, but a really hard pill to swallow. The extended long-take of a conversation between a prisoner and a priest and the ending are brilliant and unforgettable, but the film is severely fractured by its own stubborn audacity.
Fritz Lang’s Scarlet Street — ****1/2 — Loved it, loved it, loved it, despite the god-awful DVD transfer. Next up from the Lang collection for me – The Woman in the Window.
An Education — **1/2 — Curiously raved-about and pointless period-piece that’s pretty to look at and only made engaging by Carey Mulligan’s “a star is born” performance (even though her character was rather unlikable).
ON TV:
You Don’t Know Jack — ***1/2 – Pacino relishes the chance to play Jack Kevorkian in another pretty good biopic from HBO. Nothing to go bonkers over here, but a pretty solid production all around and reminds us that the debate about euthanasia is far from over.
I also continue to watch THE PACIFIC miniseries on HBO. I am one of the few who never watched Band of Brothers, so I don’t know how it compares…but it seems to get better as it goes along and the last few eps have been of the “can’t miss” nature.
IN THEATERS:
Vincere – **** – WOW! Weird, never dull, but somewhat distancing character study of “the woman who loved Benito Mussolini – to the point of madness”. Completely transfixing – this is a visual and aural tour de force (uh-oh, did I steal that description from you, Sam?) and the lead performance of Giovanna Mezzogiorno is a show-stopper (even though her character is never really fleshed out in the traditional sense – though she shows plenty of flesh). Inspired in equal parts by opera and propaganda, it offers only glossy surface treatments beyond the depiction of madness beset by betrayal, but it is wildly entertaining.
“Hunger” is a superb film, David. However, I am not exactly sure what you mean by the work being “severely fractured by its own stubborn audacity”. I appreciate that it is built on three episodic acts. However, I would be surprised if the narrative flow between the three was your concern.
Longman – I thought the first act was “fractured” from the next two — the back-and-forth focus on the guard and the new prisoner was interesting (and allowed for a lot of stylish scenarios) but I didn’t feel it tied into the overall flow and purpose of the film IMHO (suddenly in the second and third acts it was all about Bobby Sands). I also feel as if overall the film was too overtly aware of its artistry — some of the visual flourishes felt forced and not natural — while other parts — like the long-take and the ending felt wholly organic and were filmed brilliantly.
It was definitely a thought-provoking and well-made “art” film — one that could be debated both in content and on the artistry alone.
I think that the first act is not as disassociated as it may seem at first glance. Essentially, it is a remarkable piece of visual exposition in terms of alluding to the broader political issues at stake and depicting the bleak and squalid “no winners; all victims” microcosm that the prison has become. The other two acts would be lost without it.
It is equally vital to what the film wishes to achieve that it does not end up just being a biopic of Bobby Sands’ time in prison. This is why the story only condenses down to his motivations and sacrifice only once it can be seen in terms of being representative of a wider course of extreme action (bearing in mind that nine other men starved themselves to death in the same protest).
I agree that it is art cinema. In doing so, it elevates the film above the polarised vitriol that can characterise so much of the political debate about Northern Ireland. Its ability to refine a hugely contentious issue down to its most human level is the work’s greatest strength.
Indeed, in terms of how we think about the prison system in any of our countries, the vast majority of us are used to politicians’ pronouncements being “reality” and the prisoners’ conditions being “abstract”. Here, though, these positions are completely reversed.
David, which DVD did you watch of “Scarlet Street”? I’m usually not a big fan of Kino, but they have a GREAT release of the movie from a couple years back, with Lang expert David Kalat doing the audio-commentary. Much better than their other Lang discs; “Hangmen Also Die” and “The House By the River” are both great films, however.
Bob – the DVD was from Questar: Film Noir Collection. Leave it to Netflix to go the cheapest crappiest route.
David: I actually just watched SCARLET STREET again two weeks ago on DVD, and THIS here is the best transfer out there, an absolutely STUNNING print. But you need an all-Region player–I’m not sure if you have one:
Scarlet Street (1945) [DVD]
Notice, it’s less than 10 bucks. Unfortunately I can’t copy Region 2 at present.
As far as VINCERE, David, you remembered well. It’s simply one of the best films of the year, and Ms. Mezzogiorno is electrifying. Great assessment there! I haven’t seen THE PACIFIC, but all your other star evaluations are pretty much where I would go, especially with HUNGER, which I like dbetter on second viewing.
Hey don’t worry about the Phils, there are 11 and 7 and primed for a long winning streak!
Won 50 dollars on the Pick 4 on Saturday (money always raises my spirits! LOL). Was in Chinatown afterwards where a friend of mine and I ate at the spectacular HOP KEE (been going there for 10 years since the infamous Chinese Restaurant War with WITD writer Marc Bauer) and was blown away by the cold sesame noodle and braised orange duck and filet mignon tips (if your in the city don’t hesitate, get to Mott street and head straight for HOP KEE!!). Practically had a stroke brought on by the naysayers pouncing on Allan’s No 86 film THE DARK KNIGHT (still don’t get the opposition). Caught YOU DONT KNOW JACK on HBO with Pacino and wonder why he’s so good on TV and so fuckin horrible in the movies these days? Always thought Al’s career tanked after the 70’s anyway. DAVID-THE PACIFIC is GREAT, bout on par with the extraordinary BAND. Both Hanks and Spielberg will be bringing LINCOLN to screens this winter and both are exec. producers on Martin Scorsese’s upcoming RISE OF THEODORE ROOSEVELT with Leo DiCaprio.
Dennis – the Lincoln and Roosevelt projects you speak of are of very high interest indeed.
Need to try HOP KEE Dennis!
DAVID-I agree about the Pacino film on HBO. Solid performances save what, I feel, was better than average network fare. This is NO ANGELS IN AMERICA though. That one benefitted from a tight script from Tony Kushner (from his Pulitzer Prize winning play) and the ever watchful eye of Director Supreme MIKE NICHOLS. However, Pacino does sink his teeth into the role of Jack Kavourkian with a whispered glee and I was pleased to see him give a turn that didn’t require his now trademark screaming. Pacino, in mt mind, has always been a limited actor whose best when he plays quiet thinkers (his best is STILL GODFATHER PART 2). Like DeNiro and Hoffmann, Al’s basically going for enormous paychecks to entice him onto the BIG screen. Funny thing is everyone’s grown tired of him now (unlike Jack who just ages like fine wine-he was always the superior actor anyway). In any case, Pacino should stick with this television stuff as it seems to be welcoming him more than the cineplexes.
Dennis – I think I might agree with you concerning Pacino and where he should focus this latter portion of his career. I’m glad he seems to be over his “screaming” stage (I hope). He was very good in INSOMNIA, though — probably his last great film role.
DAVID-As for the debate on passing the laws on EUTHANASIA, I really hope the states adopt the practice willingly and agaist the opposition. There are a few bloggers under THE DARK KNIGHT thread I would like to sign up for it! LOL! (Actually, with 2012 approaching, it might not be a bad idea if the Tidal Waves and Volcanoes do decide to rip through here-ya never know…)
Dennis – LMAO – yeah.
Thanks Sam! They will make me a lifetime member of the Arts Council if my post persuades anyone from the States to visit the Dublin Dance Festival! :-)
Lola sounds interesting, as I briefly noted below the post. Glad that you liked Good, Bad, Weird. Rewatched it during the week. While I found the second act to be a bit stodgier this time around and the CGI was dodgier than I remembered it, the first and final half hours are still such great fun that they more than made up for other concerns.
Had a quiet week in the cinema due to work and other commitments. However, a few good ones lined up for this week all going to plan!
“They will make me a lifetime member of the Arts Council if my post persuades anyone from the States to visit the Dublin Dance Festival!”
LOL Longman!!!
Yes, you sized up THE GOOD, THE BAD AND WEIRD perfectly, methinks. I’m sure if LOLA gets a NYC release, it willmake DVD, so at least you can watch it that way, though I hope you see can see it in a theatre.
Thanks as always, and good luck this week!
Sam, as usual thanks for the shout out! I had another fairly active week watching two in the theater and five at home.
In theaters…
Oceans (***1/2) – Disney’s annual Earth Day documentary on our planet.
The Backup Plan * 1/2 – What can I say. The horror, the horror!
Home viewing consisted of…
They Live By Night ****1/2 (Ray’s excellent first feature)
The Graduate****1/2 (review coming up at 254frames)
Decoy ***
Bright Star **** (an exquisitely beautiful film that I know you are very fond of)
Nickelodeon*** (Interesting though ultimately unsatisfying film. Review forthcoming on 24frames)
John, that’s quite a grab bag of goodies there, and yes I adore BRIGHT STAR as you note, as well as THEY LIVE BY NIGHT and THE GRADUATE. I will definitely be looking at your review of the latter at Twenty Four Frames! I like what you say there about THE BACKUP PLAN! Ha! And that rating on OCEANS is dead-on! I am not a fan of either NICKELODEON nor DECOY, so again I am with that summary judgement, and look forward to those review too John! Thanks as always!
I had a solid weekend movie-wise. I found a bunch of cheap movies at a used DVD/CD place – Carrie (De Palma), Suspiria (Argento), The Big Red One (Fuller), Body Heat (Kasdan), Y Tu Mama Tambien (Cuaron), Once (Carney), A.I.: Artificial Intelligence (Spielberg). Many of them I have already seen, but it was nice to pick up my own copies of them. Of these, I was able to watch three of the new pick-ups, two of which were absolute revelations.
ONCE was one unbelievably charming and is easily going to make my Top 10 for the decade. I have no clue why I put off watching it for so long, but I loved.
Although I was fairly certain I was familiar with it, I now don’t think I actually saw all of A.I. years ago. That would likely go a long way toward explaining why I thought that I liked it but was never really crazy about it. When I watched it Sunday, I absolutely loved. Parroting what I said via e-mail with you, Sam, this sums up my feelings on it: The whole thing was outstanding, but the section that really blew me away is the one that I keep reading criticism about – the end. I thought the coda, after David is frozen for 2,000 years was incredible. It was both uplifting and heartbreaking, which I have rarely seen pulled off. I don’t how someone could claim that ending was bogus for being “overly sentimental.” Such a reaction is ridiculous and I would guess has a lot to do with the general backlash that some people have against all things Spielberg. It’s another that will now be in my Top 25.
Earlier in the week re-watched some other favorites of the new decade with Michael Mann’s COLLATERAL and the Coen Brothers’ THE MAN WHO WASN’T THERE. I still really like both of them, although each will likely just miss making a dent in my list. I also was able to watch Abel Ferrara’s BAD LIEUTENANT, which I thought was very good. My other experiences with Ferrara haven’t been good, but I thought Harvey Keitel was as good as advertised there.
“Parroting what I said via e-mail with you, Sam, this sums up my feelings on it: The whole thing was outstanding, but the section that really blew me away is the one that I keep reading criticism about – the end. I thought the coda, after David is frozen for 2,000 years was incredible. It was both uplifting and heartbreaking, which I have rarely seen pulled off.”
Dave, you and I are completely on the same wave-length here! The final third was as beautiful as anything we’ve seen over the past decade and beyond, and like you I will place this high up among the best films of the decade, especially as it was my #1 film 2001. The themes of motherhood and eternal life combined to make that one piercing sequence unbearably moving. Similarly, ONCE is one of the decade’s best films as well, and anyone who tries to sell it short simply isn’t registering the sincerity. And the music, especially FALLING SLOWLY is electrifying. I am thrilled to hear of your “discovery” of these two films, and thank you for the bursts of passion in the e ails.
Again that was some sale you managed there! Yeah, neither COLLATERAL nor that Coens film will make my own list, and I am definitely a fan of BAD LIEUTENANT!
I re-watched all six Star Wars movies and will be planning to write about them, with a few pieces to go up in the month and a half or so when my blog is hopefully reactive.
Probably should have done one a night for a week rather than squeeze them over two days – I was a bit numb at times, particularly by Jedi – but I always wanted to do that at least once, and now I have.
Incidentally, I recently awoke from a rather disturbing dream which may have had its origins in – of all places, Revenge of the Sith! Though Allan’s latest review may have contributed too. ;)
Yeah, marathon viewings always tend to be a little exhausting for me, no matter what I’m watching. As a general rule I don’t believe in watching much more than 3 hours in one sitting. Even longer single films like “Heaven’s Gate” or “Once Upon a Time in America” I tend to break up with a decent intermission.
Regarding your viewings– did you get a chance to watch THX beforehand, like you mentioned?
Yes, actually I did! I’ll probably be writing about that as well, albeit in a brief piece. Unfortunately it looks like he tinkered with that one too (a cartoon beast attacking Duvall? really?). But the restoration was generally so good – even on instant streaming Netflix, where I watched it – that I guess I can’t complain. I think in terms of sheer filmmaking it’s his best work, though definitely not his “best film” overall (I think the latter half of the screenplay was a little weak). In general, it reminded me of the sheer exuberance that existed among young filmmakers from the late 50s to the mid 70s – embracing the New Wave and New Hollywood alike – where the history of movies seemed to be alive and breathing and ready to be incorporated in exciting, creative ways into works of all kinds.
And yes, as you suggested, it was a great reminder of what a great director Lucas can be (though of course he had fantastic collaborators too; the film reinforces my notion that Walter Murch may have been the most important non-directorial “auteur” of the 70s).
The weaker parts of the restoration, I think, are worth the weirder stuff that Lucas adds– the robot-guard locker-room, the masturbatory milking-machine– to say nothing of a great deal of more subtle embellishments he adds throughout that even die-hard fans like myself have trouble spotting. If nothing else, it shows he still has the same instincts for the avant garde tucked within him somewhere, which is more than I can say for other directors who’ve gone mainstream. I think of David Cronenberg– yes, he’s got a great knack for working with actors and crafting solid, intelligent thrillers, but I could care less about “History of Violence” or “Eastern Promises”. Lucas still has it in him to make another film like THX if he wanted to, but I think the director of greats like “Videodrome” is pretty much lost to us now. In either case, one can only hope…
Interesting. Since this was my first viewing of THX I didn’t really know what was new and what wasn’t – other than the really obviously CGI’d visuals.
Here’s a page that provides a rundown of all the changes. As I said, the fact that Lucas was able to make these alterations while remaining true to the spirit of the film’s original aesthetic reaffirms my faith in his ability to do something like this again (whether or not he actually will is another matter entirely).
http://www.maverick-media.co.uk/movies/thx_1138_1971/changes_001.html
Thanks for the plug Sam. I’ve discovered to my utter delight that THE WHITE RIBBON is playing in Montgomery tonight so I imagine I’ll finally have a positive review of a more recent film in the wasteland since I saw How to Train Your Dragon. And I have the terrible feeling in my stomach that I’m going to loathe Iron Man 2. God I hope I’m wrong.
Ha Jake! I would indeed expect you to reject IRON MAN 2, and I can’t say I blame you! But I’m curious to see what you think of THE WHITE RIBBON, and I do hope that planned screening materializes. I loved your review of DRAGON!
Sam, thanks so much for the mention and incredibly kind words! I just wanted to join you in congratulating Dave. It’s been inspiring to see him maintain quality, consistency and such mastery of the subject at hand.
Unfortunately, another slow week for me in terms of film-watching. But hopefully I’ll do something about that soon. LOLA sounds fantastic and is definitely something I would love to see when the opportunity presents itself.
Thanks so much for all the support, Sam! To a great week.
Aye Jeffrey! Dave has really hit a grand slam with the noir countdown, as his given a number of people a great reference tool. As the proprietor of a daily project youself you well know the kind of perseverence that has to be maintained! Yes, LOLA would most certainly interest you greatly.
Taking your kids to see To Kill A Mockingbird in that spacious hall had to be a major highlight, and I know how you love that novel, as I can attest to first-hand. I agree it’s a great example of an excellent film made from a book. And Peck is perfect.
Yes Frank, it was a blessing of a schedule this month at the Loews, and the kids seemed to really appreciate it. It does make you feel great.
I see the Yankees continue to have issues with the Angels. Still it was nice to see a triple play over the weekend.
Amazed that “How To Train Your Dragon” again moved to the top in the box office. I know that’s unusual, but if any film could pull it off, I’m happy it’s that one.
Nice job there taking the gang to see “To Kill A Mockingbird”.
I think that was their first triple play in forty years Joe! And yes, the Angels are a regular nemesis, and this was the first series the Yanks dropped this year.
DRAGON really has legs, as few films return to the top once detroned! And as I told Frank, the MOCKINGBIRD visit was one to truly appreciate!
Thanks Sam. I will have a post on Les enfants terribles up late tonight. Here’s what I watched this week (well, mostly this weekend actually):
Fires On The Plain **** This is the first of Ichikawa’s movies I’ve seen, and the best movie I watched that I hadn’t seen before in several weeks at least. I’m generally very skeptical of the idea of the anti-war film, as cinema tends to innately aestheticize violence and suffering, but along with Watkins’ The War Game this is probably the closest I’ve seen to one. It didn’t really remind me of any Japanese film of its time. Instead, I thought of Nick Ray’s Bitter Victory, released two years earlier. Both are filmed strikingly in black and white cinemascope, and deal with the impossibility of heroism in the second world war. At least on a visceral level, though, Ichikawa goes much further. Those final scenes are just horrifying, there’s no way to describe them.
Martha **½ Minor Fassbinder. It’s a logical extension of what Cukor was doing in Gaslight, and that’s the problem; it’s all too logical. The movie then becomes defined by a solitary idea, and Fassbinder’s refusal to allow either the perpetrator or the perpetrated anything resembling dignity robs the film of the emotional complexity of something like In A Year Of 13 Moons. Sure, it’s “Brechtian,” but that doesn’t mean it’s good.
Still Life *** This is my first film of Jia’s, and it’s very easy to see why it appeals to so many. Although I was at first annoyed by his complete disregard for form, there was so much poetry in specific moments I was able to ignore that, then embrace it. It’s filmed in an incredible area of the world, and the digital photography gives it a look and feel that film definitely could not, and I especially like its eccentric, hallucinatory touches.
The Hired Hand *½ The worst kind of western, and the idea that this film is now be critically reappraised in some circles is just embarrassing. Oates has no business being in a movie this phony, but is terrific nonetheless, and Verna Bloom is even better. There’s real poetry in their faces and interactions, and it’s what Fonda lacks. As a star he has no gravity, looking more stoned than world-weary, and as a director he favors shitty ambient guitar music and a lot of slow motion. It’s supposed to be lyrical, I guess, but it’s just pretentious existentialist nonsense, and it’s sad to think Sundance is puttting this out in a deluxe DVD set while some of Hellman’s truly great films are being put out by crappy public domain distributors.
Beau travail **** This was inspired by Drew’s post over at The Blue Vial and man has this film held up. Denis knows something we don’t, and I hope she never tips her hand.
The Band Wagon **** It’s fitting I watched this as Dave finished his countdown. The musical noir finale is both absurd and strangely romantic. This is as good as it gets.
Doniphon – Since you responded so well to Fires on the Plain, definitely check out THE BURMESE HARP. I think it’s better than Fires and is might be my all-time favorite film from Japan.
Donophon: I’ll be camping out at your place for that one, as I’ve always discussed with Allan, that it is one of Melville’s most underestimated works, in large measure as it’s one of the earliest. But I’m definitely intrigued with what you will approach here!
I agree with our friend Dave on THE BURMESE HARP, which is definitely Ichikawa’s masterpiece, and one of the greatest of all Japanese films (again as Dave contends himself) It’s extraordinarily moving. Still, FIRES is quite a baptism with Ichikawa’s work, and that’s quite the understatement! It’s an anti-war film par excellence. Yes it’s horrifying in the end. Interesting that you compare it with Ray’s BITTER VICTORY, but I hear you.
BEAU TRAVAIL is a Denis masterwork, but I don’t have to tell YOU of all people that as you have pretty much become with Ed Howard the blogosphere’s most impassioned Denis specialists and I tip my cap to you twice!
There is no genre that you convey so brilliantly and descriptively than the western (is this by chance your favorite type of film by any chance?) and again I was fascinated here by your capsule of THE HIRED HAND, though I will avoid it regardless of Fonda’s pre-eminence.
Brilliant capsule assessment of STILL LIFE too, as I really adore that film but will defer to Just Another Film Buff, who offers a tremendous capsule of the film in the second part of his Jia examination:
http://theseventhart.info/2010/04/17/the-films-of-jia-zhang-ke-part-22-2/
I completely agree with you on MARTHA, which is definitely a minor Fassbinder effort, and as close to a dud as we have from this great artist. Yep, because it’s Brechtian, it does NOT automatically mean it’s good (DOGVILLE was an example of a GREAT Brechtian film, methinks!) and as far as IN THE YEAR OF 13 MOONS, I consider that one of Fassbinder’s supreme masterpieces, one of his 2 or 3 greatest films. Interesting what you say there about Cukor.
THE BAND WAGON? Ah, pure bliss!!!
What a fantastic, awesome wrap here Donophon! Thanks so much for sharing!!!
Thanks Sam & Dave. Unfortunately Les enfants terribles will not be posted until tomorrow night, as I realized this afternoon a friend I’d lent the DVD to didn’t return it, but I’m going to do my best to see that I get up posts on it and Bob le flambeur and Two Men In Manhattan this week. And I will definitely be checking out The Burmese Harp in the next couple days, as I know my library has it.
And yes, Sam, the western is my favorite genre. Part of it is definitely the embarrassment of riches in terms of great filmmakers (Ford, Hawks, Boetticher, Mann, Peckinpah, Fuller, Ray, Hellman, etc.). But also because the genre stresses landscapes, I think it forces directors to really focus on the human element (there isn’t a contemporary non-western example comparable to the moral drama of The Naked Spur, for example, just as there isn’t a non-western filmmaker that dealt with the painful nature of history like Ford or Peckinpah did).
$19 a ticket, Sam? Eh. Better you than me I’m afraid. You are also a better man than me, as I would never honor the Tribeca committee by reviewing films for the festival after getting refused for a press pass? And why do you figure you were refused? I thought Wonders was a top website.
Sorry to hear the news about that Merchant-Ivory film, which I was hoping quite a bit from. Perhaps the inspiration is gone now that Merchant has passed.
David, I had actually told my friend Craig Kennedy last week that I would never “reward” these people with a review after being turned down for a press pass, but there you have it: I already went back on my word.
I am almost certain that the 1,500 to 2,000 hits a day (which is what we get here at Wonders, and the several with the password can and do check out these stats regularly) is not high enough traffic for the Tribeca committee, those as a niche site, those numbers are quite good. If “comments” came into the equation I’m sure we would have made it. maybe next year. Thanks as always david!
Kick-Ass turned out to be a lot of fun. I can’t say that every idea worked, but I know such films are like grab bags. There is no discipline, and no central focus. Such is the case with irreverence.
In just a few words there Fred, you size up why KICK ASS works in that special sub-heading of undisciplined irreverence. It’s a lot of fun, and some should just just let go!
JOHN GRECO-Im THRILLED to see an almost perfect star grade for THE GRADUATE. While some see it as dated and a product of its times, I still feel that many of its themes about humanity as demoralized materialistic property still hold up today. There is a joy to discovering that film that a first viewing only holds. I still stand firm to this day that Hoffman’s performance is on of the five greatest acting debut’s in film history and Anne Bancroft’s Devil incarnate, MRS. ROBUNSON was the actress’s high-water mark (she’s still smokey/sexy/ dangerous to me-GRROWWWLLL! :-) ). The direction is tightest and most metaphorical of Mike Nichols distinquished career (the first shot of Benjamin sitting in front of the aquarium, suggesting him drowning is brilliant). I envy you seeing this for the first time. THE GRADUATE is one of my 10 personal favorites!
I love THE GRADUATE too Dennis, though Allan resists giving this any high level rating.
DENNIS, I feel the same way as you do. The film is dated a bit but hell it was dated a bit in 1967 but I do not think it hurts the film or its themes. Today, we live in a very PLASTIC society. Hoffman and Bancroft were superb as was the direction, editing (Sam O’Steen) cinematgraphy (Bruce Surtees) and the use of the SIMON & GARFUNKEL soundtrack.
Thanks for the mention Sam. And about that wedding you mentioned, I hope that its not your’s ;)
Well, here’s what I watched over the weekend:
1) Dekalog – have managed watching the 1st 8 episodes, planning to watch the remaining 2 tomorrow as I’ve an day off from work. What a towering masterpiece!!! And thanks a lot Sam for facilitating my watch this majestic works of art…
2) Seven – suddenly felt the urge of watching the movie again. Watched it after a long time in fact.
3) Where the Sidewalk Ends – a fine, tense though not much talked about noir.
4) Up in the Air – in my opinion, the best of Reitman so far. Makes the transition from cynicism & satire to a more intimate & personal portrayal of the protagonist quite well.
Ha Shubhajit! No, I’m already married 15 years, and have five kids all born within 7 years to show for it! But at 55 now, I’m really old enough to be their grandfather instead of the father that I am.
I sensed from the beginning that the DEKALOG would wind up being one of those transcendent cinematic experiences, and your reaction here and at Cinemascope impressively confirms this. This is one work that improves on subsequent viewings too, as you would well expect.
SEVEN is a dark and moody piece that isn’t without some merit, and I’m all with you on WHERE THE SIDEWALK ENDS!
OK, I’m not a big UP IN THE AIR fan, as I’ve elaborated on at this site and elsewhere, but I’m in th eminority as I am with BEFORE SUNRISE, which you reviewed over the last few days at your place.
Great wrap my very good friend!
SHUBHAJIT-There is MORE than just some merit to SE7EN. It was the kicking down of the door/ introduction for one of the most visually creative new directors working today: DAVID FINCHER. The film is also rare in the fact that, for a serial killer film its the only one I know of that presents the crimes after the fact. The illusion of reality in this film is precisely drawn from the fact that we, the viewer, are taking the journey WITH Pitt and Freeman. As they uncover the victims and the clues, then so are we. The film is rare in this genre as there are no moments of the killer preparing for or committing murder. SE7EN is also one of few films where the killers reasoning behind his dasterdly deeds are irrefutably correct and leaves the audience saying “God, he makes a lot of sense.” Fincher’s composition of framing, using cameras on the floor/ground to heighten the ominous presence of a looming city dwarfing humanity and the final, sickening realization that we bring it on ourselves. Its a classic!
Excellent discussion here, Dennis, of SEVEN. It’s no masterpiece remotely, but it’s rather an interesting film on a number of fronts.
JOHN GRECO/SAM-Yea, I have loved THE GRADUATE ever since I started my personal study of American cimema way back in the early eighties. I’m always amazed that people look at it and some can’t see the metaphors. The significance of water, for instance. Notice that before Bejamins introduction to Elaine that he is often beseiged by water. The opening shot of Ben sitting in front of the aquarium, his testing of the scuba suit at the bottom of the Braddock’s pool: indications of societal drowning. Ben is an item, not a human to his parents and the conservative adult population he lives within. He’s dying. After Elaine, the camera often finds Benjamin in high places (looking out his bedroom window onto his parents, his attic apartment at Berkeley, standing on the balcony of the church to rescue his love and his life): he is enlightened by love, true love. I know Allan poo-poo’s this film and I can’t understand why. From every level its a milestone and a masterpiece of film-making and Mike Nichols BEST film!
Allan has always posed the cultural pastiche here is dated, but many film intellectuals do find this as the definition of an era. Professor Howard Suber’s running commentary on the Criterion laserdisc of the film is one of the best in scholarly discussion we’ve had, methinks.
DAVE-I agree with your assessment of Spielberg’s AI. Something truly magical happens there. However, I often wonder about the film it could have been with Stanley directing it. The John Williams score would have gone bye-bye (this is the one thing about the film, as it stands, that I would have omitted immediately-no disrespect to Williams). And, of course, the emotional ending has always troubled me. I would have preferred David brought back to the labratories and left motionless as the future robots render him in perpetual sleep and dreaming of his mother. I like the idea of the frozen boy behind glass, eyes open in wonder and us knowing his mind and dream never stop. I believe it this colder ending that Stanley would have opted for. It is what it is. I love 90% of this film. I would have preferred Kubrick over Spielberg here (and I’m a Spielberg admirer). To me it should have really only ended Stanley’s way (would have been the perfect topper to that ice riddled view of NYC).
Dennis, I hear what you are saying, but I do believe Spielberg’s sentimental sensibilities added a deeper emotional resonance to this material than Kubrick would have imparted. That’s not to imply that it would have been a greater film or a lesser film, but a distinctly different one.
Hi! Sam Juliano, Allan, and WitD readers,
My Lead-in: Sam, once again some very interesting films that you watched this week on your weekly quest to let your readers, know what films that you experienced at the theatre and on stage.
You have watched…Lola, The City of the Final Destination, and The Good, the Bad and Weird.
It seems as if your trip with your family to watch To Kill A Mockingbird was quite an enjoyable…experience.
Now when it comes to the films that you watched…It appears as if the film The City of the Final Destination was the weakest in the bunch and Lola and The Good, the Bad and Weird the strongest…
…Sam, Here is what happened on my “front”…
Films on the shelf:
I Watched The Sellout: A film noir starting John Hodiak and Audrey Totter and Walter Pidgeon…Hmm…I would probably give it *** stars…
…So, Evil My Love (A Gothic Film Noir I believe?!?…Is coming up next…)
…I also plan to watch for the first-time La Chienne later this week…along with CoCo Before Chanel, too!
I must admit that I have been to busy to watch films…because I have been assisting a friend with his blog, preparing to roll out the red carpet for Tony, and some personal matters, but I’am never to “busy” to report the releases of two film noir boxset(s) upcoming in the month of July and here they are…
(Columbia/Sony Plan to Release Classic Film Noir Volume II on July 06th 2010…)
(Olive Film Release First Wave of Films in July 2010… I think only three of the four films in the Olive boxset has noirish…elements.
Books on the shelf:… author Dennis Lehane’s Shutter Island still lead on my “online” bookshelf (Is the bookshelf on my blog)…no additional books added to my “physical” shelf (The bookshelf in my parents’ home) yet…with “yet” being the operative word.
Oops! correction two additional books added to my “physical shelf.”
Robert Coover’s A Noir Novel and Silver, Ward, and Ursini’s Film Noir: The Encyclopedia. (Which I plan to offer in my upcoming book contest…Oh! yes, both copies will be offered.)
Music on the shelf:… Nope…not yet…with “yet” being the operative word.
Food … Hmmm…a very light touch…as usual.
Sports… No Comment…
Politics…No Comment…
I guess that about wrap up my week in review for this week.
By the way, Sam Juliano thanks, for mentioning the happenings on my blog…as usual.
DeeDee ;) :)
As usual Dee Dee, a fabulous weekly report wrought with appreciation and enthusiasm. I am hardly surprised that you are painstakingly preparing for your interview with Tony d’Ambra, and I’m sure it be among your greatest for all sorts of reasons.
Yes, thank you, it’s true that I thought LOLA (Tribeca Film Festival) and THE GOOD THE BAD THE WEIRD were the best films I saw this past week, while the Merchant-Ivory was sadly the weakest, though I am a huge fan of a number of their past works. I will be making further appearances at the Tribeca Film Festival this coming Thursday, Friday and Saturday nights with Lucille and our friend Bob. And as I’ve stated, the TO KILL A MOCKINGBIRD screening at that place was gratifying as it did appear that the kids were enthralled, with one of the greatest of all American classics, and one of the finest novel to film transcriptions.
Thanks so much for those noir DVD links. I actually have the Columbia set on order now for months. Several very good films in that set!
I would agree with that star rating for THE SELLOUT, and look forward to your report on EVIL, MY LOVE. I do believe Jean Renoir’s LA CHIENNE to be a masterpiece (that’s greater than SCARLET STREET, which was the American re-make) but let’s see what you think. I know you will also probably like COCO, as it’s an agreeable enough film.
A SHUTTER ISLAND reading would certainly go great with the viewing of the film! That is yet another very nice gesture on your part with the noir book giveaways, but it’s typical for you, and further testament to your generosity.
Thanks as always for the spectacular wrap Dee Dee!!!
Thanks very much again for the plug, Sam – much appreciated. It must have been great seeing To Kill a Mockingbird on the big screen – I’d love to see more classic movies that way. Sorry to hear you were disappointed by the latest Ivory/Jhabavala collaboration as I am a big fan of theirs – I’ll still have to give it a look for myself, though from your comments I shouldn’t hold my breath!
The big news in my neck of the woods this week was that our local arthouse cinema, Ipswich Film Theatre, which closed last year after struggling for some time, is reopening in May on a part-time basis, run by a trust – they are going to show ‘A Single Man’ as one of their first films, and I will definitely be going along.
I haven’t had a chance to watch much this week but have just re-watched Borzage’s ‘Man’s Castle’, one I keep meaning to review, and also had a repeat viewing of the BBC mini-series ‘North and South’, and nearly finished rereading the book to go with it.
Thanks so much Judy for checking in. Yeah, I’ll admit that I was disappointed with the new Merchant-Ivory, as like you I have adored their best work. But the reviews were not so good, and this wasn’t the best script from the talented Ms. Jabvhala, where events never connected.
Yes, it was an awesome time seeing MOCKINGBIRD on that gigantic Loews palace screen, and a great way to introduce the kids to this towering classic of literature and film. A few of them have subsequently asked to see it again on DVD, which is the gtreatest testament of all as to its impact.
That’s great news that the Ipswich Art House Theatre has re-opened–it’s always an emotional bummer when long-running theatres dating back to our childhoods–close down, but that makes a resurrection doubly as wonderful–and I’d certainly like to hear your reaction to A SINGLE MAN, which was one of my own favorite films of the year. Firth of course was extraordinary.
Wow, you watched NORTH AND SOUTH, and finished the book to go with it! Amazing! And I look forward to your review of MAN’S CASTLE.
As always Judy, much appreciated!
As of today, Sam, we have exactly one week left until our trip! I did have the chance to write a post on the last five films of the 2000’s that I saw, which I know you are aware of since you came over gun’s a-blazing to defend the honor of a few movies I disparaged :P
http://troyolson.blogspot.com/2010/04/best-of-2000-five-movies-in-five.html
As for the past week, I watched one more movie from the 2000’s, THE LIVES OF OTHERS, which I talk about in the aforementioned post and which I gave ***1/2.
I also watched two movies with my wife, THE BOX, which was a good looking, well made film with a neat premise, but shoddy execution that was all over the map (***) and HIS GIRL FRIDAY, which is quite simply as good as comedy gets and an instant favorite that I’ll be sure to revisit more than once (*****).
Troy, that is really exciting news!!! I know you did indicate you’d be there for two to three weeks, but this of course will be the greatest time investment of your entire life as well as Trisha’s. I must say I really look forward to the pictures and the report, and like everyone else I wish both of you a safe and joyous trip and time there.
LOL on my coming over there with “guns a-blazing!!!” I like that!!! I completely agree with you on the ***** rating for the American masterpiece HIS GIRL FRIDAY, and I can’t argue with what you say about THE BOX, though I like it more now than when I first saw it. This one I think will gain in reputation over time.
We’ll talk soon. I bet it is difficult remaining calm.
Thanks Sam. The emotions seem to change from day-to-day, from stress to anxiety to calm and then back again. It will be nice to just start up the next stage of things and be done with the waiting period here :)
As for THE BOX, it’s funny you say what you do about it gaining in reputation over time. I kind of thought the same thing while watching, that in 10 years it will be the sort of film that is trotted out as an undervalued gem. I can certainly see value in that assessment (even if the muddled nature of the last 30 minutes will probably bias me against it, even in 10 years). This is a film that would have been perfect as a 1-hour TWILIGHT ZONE or X-FILES episode.
Of course Troy, I can certainly comprehend the roller coaster emotions. But it’s true what you say about ‘wanting this stage to receive closure.’ The waiting is what is exasperating. I have a first cousin, who went over to China to adapt a girl 12 years ago with his partner, and the endless beaurocratic hassle actually delayed that trip for almost two years. At least there’s been some improvement on the lead-in. In any case, I know once you have Madelyn in your arms, the anxiety will end permanently, as well it should.
It’s true what you say about THE BOX being perfect for a one-hour TWILIGHT ZONE or X FILES, and that it will be seen in a different light down the road. This director seems to have legs in this sense, as DONNIE DARKO was originally seen as convoluted, but now has a much more appreciative cult audience.