- Tommy Jones and Ben Affleck in surprisingly-decent “The Company Men”
by Sam Juliano
Jets fans have been brought down to a somber state of reality, after Gang Green fell behind 24-0 to the Pittsburgh Steelers, relegating an inspired late rally fail that narrowed the score to 24-19, to also-ran status. It’s the Steel Men against the Green Bay Packers in the Super Bowl.
Extreme cold has moved in to the northeast, with temperatures expected in the single digits during mid-week. And another storm is being watched for Tuesday night. In any case, it’s business as usual at Wonders in the Dark, with the past week producing a mega-thread under Jim Clark’s extraordinary two-prongued review of Tim Burton’s Edward Scissorhands and Big Fish. Jamie Uhler’s exceptional “Getting over the Beatles” continued on this week, while Bob Clark penned another marathon science-fiction essay on a DVD series.
I managed myself to see three new film releases in theatres, one Film Forum classic and a popular off-Broadway play. The films are:
Johnny Mad Dog *** 1/2 (Friday night) Anthology Film Archives
The Company Men *** 1/2 (Sunday afternoon) Edgewater multiplex
The Way Home ** 1/2 (Sunday afternoon) Edgewater multiplex
The Leopard ***** (Wednesday night) Film Forum
JOHNNY MAD DOG is a kind of precautionary tale of kid soldiers in Liberia toting guns and terrorizing their countrymen in a display of barbarism akin to Jack and his cronies in Golding’s “Lord of the Flies” and the kids in Meirelles’ “City of God.” The hand-held camera technique is jolting and the cinema verite style makes the violence all too real. THE COMPANY MEN is a solidly acted and written film about the pain of losing one’s job, and the domino effect on his family and the world around him. Jones, Affleck, Costner and Cooper are all effective. THE WAY HOME is Peter Weir’s epic film of people who heroically escape for a Gulag and reach India in a perilous trek. The spare unfolding diminished the film’s emotional impact, sad to say.
Visconti’s THE LEOPARD of course is a masterpiece, but I’ll hold further discussion to a future time.
Charles Busch’s stage comedy THE DIVINE SISTER, is an intermittantly hilarious send-off of religious movies, where nuns are prominent. (Trouble With Angels, The Sond of Bernadette, Doubt, Agnes of God, Miracle of Our Lady of Fatima, etc) In the end, it’s slight and forgettable, but it was a fair enough entertainment to sit through (review above)
And now it’s your turn my friends:
At Twenty Four Frames John Greco has written a superlative review on Leo McCarey’s American classic The Awful Truth: http://twentyfourframes.wordpress.com/2011/01/21/the-awful-truth-1937-leo-mccarey/
Terrill Welch has two new oil paintings up for attention at the Creativepotager blog that will inspire art lovers and have still others pondering a purchase. Terrill’s work gets better and better and better: http://creativepotager.wordpress.com/2011/01/21/new-oil-paintings-breaking-through-and-forest/
A very touching and special ‘birthday’ greeting from the celebrant, our very good friend and stff colleague, Jaime Grijalba. The party with a priceless picture are up at Exodus: 8:2: http://exodus8-2.blogspot.com/2011/01/en-mi-cumpleanos.html
We will backtrack this week at FilmsNoir.net, to consider Tony d’Ambra’s January 2 essay, “Still Cause for Alarm” which remains one of his finest essays ever, but the comment section must be seen to be believed. There’s some right wing/left wing discussion that will do much more than raise eyebrows: http://filmsnoir.net/film_noir/still-cause-for-alarm.html
Jon Lanthier offers up a penetrating capsule from his Slant Magazine review of Johnny Mad Dog, a French-Liberian look at excessive violence and children toting guns and terrorizing natives in this thinly-veiled but still ambiguous polemic. It’s over at Aspiring Sellout: http://aspiringsellout.com/2011/01/johnny-mad-dog-2008/
Laurie Buchanan at Speaking From the Heart continues her fascinating ‘Life Path’ venture, describing in her most-recent post the creative characteristics of anyone with that number, as well as the traits that would need to be worked on: http://holessence.wordpress.com/2011/01/20/life-path-3/
At Ferdy-on-Films Roderick Heath offers up an extraordinary review of Tommy Wiseau’s The Room, which he calls “the preeminent Bad Movie of our time.”: http://www.ferdyonfilms.com/?p=8013
Meanwhile, Marilyn Ferdinand just posted a new piece at FOF on Eleven Men Out, about a gay Islander soccer team. It’s a deeply-felt essay: http://www.ferdyonfilms.com/?p=8057
Roderick Heath at This Island Rod, has penned a stupendous review of a film that few have seen, Malpertuis from 1971: http://thisislandrod.blogspot.com/2011/01/belgian-director-harry-kumel-having.html
Judy Geater at Movie Classics has again brought a vintage pre-coder into close scutiny with an utterly-exceptional review of the little-seen 1932 drama State’s Attorney with John Barrymore and Helen Twelvetrees: http://movieclassics.wordpress.com/2011/01/15/states-attorney-1932/
Samuel Wilson has authored another typically outstanding review at Mondo 70 on Skirt Day, a 2009 French release starring Isabelle Adjani: http://mondo70.blogspot.com/2011/01/skirt-day-la-journee-de-la-jupe-2009.html
Craig Kennedy’s new Watercooler is up and running at Living in Cinema. As Always, it’s quite the enriching location: http://livingincinema.com/2011/01/23/the-mostly-byo-watercooler/
Srikanth (a.k.a. Just Another Film Buff) has again proven why he sits on an imaginary throne in a land of fervant cineastes, providing them with the best of all worlds with his incomparably erudite and ebullient appraisals. That “land” is known as The Seventh Art: http://theseventhart.info/2011/01/15/home-movies/
Troy Olson has authored a brilliant entry in his Robert Bresson series at Elusive as Robert Denby: The Life and Times of Troy with a scholarly treatment of Les Anges du Peche: http://troyolson.blogspot.com/2011/01/robert-bresson-les-anges-du-peche.html
Stephen Russell-Gebbett, at Checking on my Sausages has again given his readers a most unique perspective with his writing about Martin Scorsese’s Taxi Driver while watching it!: http://checkingonmysausages.blogspot.com/2011/01/writing-while–watching-taxi-driver.html
Taking a brief intermission from his incomparable yearly survey of the cinema, Jason Marshall takes on look at the recently-released The Green Hornet at Movies Over Matter: http://moviesovermatter.com/2011/01/21/the-green-hornet/
Filmmaker and movie maven Jeffrey Goodman offers up a most interesting link at The Last Lullaby on the upcoming Sundance Festival, launching on Thursday, January 20: http://cahierspositif.blogspot.com/2011/01/sundance-2011-7-days–away.html
Shubjajit has penned another exemplary capsule, this time on the noir classic D.O.A. at Cinemascope: http://cliched-monologues.blogspot.com/2011/01/doa-1949.html
Kevin Olson, at Hugo Stiglitz Makes Movies has penned an excellent review of The American, a film he largely defends: http://kolson-kevinsblog.blogspot.com/2011/01/american-2010.html
Adam Zanzie is heading for Utah and the Sundance Film Festival. We all wish him a most memorable trip, and look forward to pictures and a report: http://iceboxmovies.blogspot.com/2011/01/leaving-for-sundance-on-tuesday.html
A creative ‘phone book’ collage leads up at the gloriously intricate home of the rightly popular Coffee Messiah, Michael Harford: http://coffeemessiah.blogspot.com/2011/01/working-collage.html
Dave Van Poppel has written a superlative review of Derek Cianfrance’s extraordinary Blue Valentine at his place that’s essential reading: http://visionsofnonfiction.blogspot.com/2011/01/realist-cinema-blue-valentine.html
Our beloved Dee Dee is back at Darkness Into Light with a post promoting and celebrating the Film Preservation Fundraiser being coordinated by Marilyn Ferdinand, Greg Ferrara and The Self-Styled Siren. It’s thrilling to have Dee Dee posting there again!: http://noirishcity.blogspot.com/2010/11/for-love-of-film-noir-for-love-of-films.html
David Schleicher, in an engaging pre-poll movie list, has posed some most interesting titles for the year’s film fare, as he ushers in 2011 at the always-creative The Schleicher Spin: http://theschleicherspin.com/2011/01/01/and-now-for-2011/
Over at Vermillion and One Nights, our friend in Tokyo, “Murderous Ink” continues his incomparable analytical dissection of one of the greatest of all films: Ozu’s There Was A Father. There really has never been anything like this anywhere, not even from the published film scholars!: http://vermillionandonenights.blogspot.com/2011/01/analysis-of-there-was-father-003000.html
Drew McIntosh offers up two haunting Samuel Fuller screencaps in his latest intoxicating cinematic foray at The Blue Vial: http://thebluevial.blogspot.com/2011/01/in-shadows.html
Ryan Kelly has posted a uniquely fascinating ‘Best Movies of 2010’ list at Medfly Quarantine: http://medflyquarantine.blogspot.com/2011/01/my-2010-movies.html
Ed Howard is leading up at Only the Cinema with a superb review of a short film, I, An Actress, which encompasses a screen test of an acting student: http://seul-le-cinema.blogspot.com/2011/01/i-actress.html
Our very good friend Pat has a brand new piece up at Doodad Kind of Town, a loving tribute to fallen director Blake Edwards: http://doodadkindoftown.wordpress.com/2010/12/16/farewell-blake-edwards/
J.D. has penned a fascinating and comprehensive review on William Friedkin’s To Live and Die in L.A. at Radiator Heaven: http://rheaven.blogspot.com/2011/01/to-live-and-die-in-la.html
Sachin at Scribbles and Ramblings lists and discusses the 2010 Foreign Film Candidates for the Oscar, and specifies which of these he has seen to this point. There is some great stuff there: http://likhna.blogspot.com/2011/01/2010-foreign-language-film-oscar.html
Anu, at The Confidential Report has posted a spectacular Top 10 list that again shows why and how he’s an ultimate cineaste: http://theconfidentialreport.wordpress.com/2011/01/12/top-ten-of–2010/
G.F. has authored a magnificent review at Satyamshot on Rakht Charita: http://satyamshot.wordpress.com/2011/01/23/gf-on-rakht-charitra-1-2/
At Cinema Styles Greg Ferrara has offered up a magnificent review of a seminal Duke Ellington album, which also features some great responses in the comment section by Ed Howard and others: http://cinemastyles.blogspot.com/2011/01/duke-ellington-afro-eurasian-eclipse.html
Dan Getahun of Getafilm, statesman and critic extraordinaire has posted a fecund round-up of films he’s seen recently, including Black Swan, Enter Through the Gift Shop and Marwencol: http://getafilm.blogspot.com/2010/12/getafilm-gallimaufry-marwencol-black.html
Jason Bellamy at The Cooler has authored an ever-thoughtful essay on The Fighter, which he has expressed some refreshing “issues” with http://coolercinema.blogspot.com/2011/01/neutral-corner-fighter.html
Jake Cole is leading up with a spectacular review of Fearless (with Jeff Bridges) at Not Just Movies: http://armchairc.blogspot.com/2011/01/fearless-1993.html
At Little Worlds, Hokahey has penned a very nice and favorable review of Disney’s animated Tangled: http://hokahey-littleworlds.blogspot.com/2011/01/tangled.html
As part of a Hitchcock blogothon, R.D. Finch has penned a very fine review of The Wrong Man at The Movie Projector: http://themovieprojector.blogspot.com/2011/01/cmba-hitchcock-blogathon-wrong-man-1956.html
The Film Doctor takes aim at The Green Hornet, and there aren’t any prisoners: http://filmdr.blogspot.com/2011/01/enter-void-8-notes-on-green-hornet.html
Jeopardy Girl talks about post-Christmas matters including some new Hitchcock DVDs under the tree: http://jeopardygirl.wordpress.com/2010/12/28/quick-gift-update/
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Wonders in the Dark 
Actually, if someone held a gun to my head and made me give a more specific answer to the question you asked me a few weeks ago, Sam, I might well have answered The Leopard as my favourite movie.
Wow Rod! Now that is the supreme testament. I knew you loved the film, but never realized to what degree. Seeing it in this fashion and with this print inspired quite an after-screening conversation with my friend Kaleem Hasan on Seventh Avenue later that night, but I must look for your own review, which I am assuming is in Ferdy-on-Film’s archives. Now THAT would be the capper!
Many thanks my very good friend!
Actually, no, I’ve never done a review. A project to keep in mind!
Indeed! I’ve love and appreciate to see it Rod! I know how thorough and descriptive you would be!
Sam, thanks so much for the great mention.
I was sad to see the Jets go, and my wife, after watching a story on Dennis Byrd, was also vehemently rooting for them. For all you tennis fans, it’s been a good week with the first Grand Slam of the year, the Australian Open, delivering some extraordinary matches. This week should prove to be more fantastic tennis for anyone that enjoys watching the sport. I truly believe that right now we have the opportunity to simultaneously watch the two greatest men to ever play the game. It’s a real treat.
Like you, I’m also a huge fan of THE LEOPARD and look forward to hearing about your most recent experience with it.
This week, I took in MADEMOISELLE CHAMBON, THAT HAMILTON WOMAN, DISGRACE, SWIMMING POOL, SWEETGRASS, SYNECDOCHE, NEW YORK, and THE MAID. I’m not sure I necessarily had a favorite of the bunch, but I was happy to see them all.
Thanks, Sam, for all your incredible work. Stay warm, and have another wonderful week!
And thank you Jeffrey for your customary spirited response on this thread! Nice too that you bring in the tennis activity of the recent weeks for all here to think about! I was once a major follower, but one thing or another has waylayed me from sustaining my attention for it. The Grand Slam and the Australian Open were once followed religiously. I do investigate all the results though, in the sports reports. Yes, those two are the greatest player, no doubt! I’m very happy to hear that your wife was pulling for Gang Green! And yep, Byrd was brought in for the coin toss.
Of that distinguished potpori of films, I would say I love SYNECDOCHE, NEW YORK, MADEMOISELLE CHAMBON and THE MAID the best, but others like SWIMMING POOL and THAT HAMILTON WOMAN are impressive too. You have really been on some streak as of late, and I look forward to your next recap at THE LAST LULLABY. What I loved most about the big-screen THE LEOPARD were the big drawing room scenes and the crowd scenes, which of course Visconti orchestrated with exquisite visual panache.
Many thanks as always my excellent friend! We are trying to survive this exceeding cold spell, even inside the schools. Picture me now. I am wearing my winter coat while responding to you, while the kids (in their coats) are watching The Little Rascals. Ha!
Sam,
Thanks again for the link. Too bad about the Jets. They almost came back but alas came up short. Not much opened up here this week so all my viewing was at home. My wishes to a quick warm up to all those in the frozen north!
His Girl Friday(*****) Howard Hawks exquisite comedy with Cary Grant and Rosalind Russell at the top of their game. Fantastic dialogue running at a pace equivalent to an Olympic runner. I have not seen the original (THE FRONT PAGE) so I cannot compare but this film is one I can watch repeatedly and have. I will have a review of this coming up soon at 24frames.
Bringing Up Baby (****1/2) Another excellent Howard Hawks screwball comedy with great work from Cary Grant and Kate Hepburn. I am always enchanted by Hepburn’s performance here.
99 River Street (****) Phil Karlson directed this thrilling noir with John Payne as an ex-boxer framed for the murder of his wife. There are some nice twist in the story and with the characters. Good low budget crime drama.
The Crooked Way ***1/2 – Another low budget crime film with John Payne as an amnesia victim who is forced to come face to face with his criminal past. Directed by Robert Florey.
Also watched another group Laurel and Hardy shorts leftover on my DVR from the TCM festival a few weeks ago . First up was “Me and My Pal,” (***1/2) a simple tale of Ollie wedding day being derailed by a very intriguing jigsaw puzzle ending as many L & H shorts do with Mr. Hardy emotional demise. In “Them Thar Hills (****), one of their best, Stan and Ollie get into a tit of tat battle with L&H regular Charlie Hall after they innocently get his wife drunk. In “Going Bye Bye” (****) the boys testify against a violent gangster (Walter Long) who swears revenge. Among the others watched were “Blotto” (***1/2), “Helpmates (***1/2), “Busy Bodies” (***1/2), “Below Zero”(***), The Midnight Patrol (***), “Twice Two” (**1/2) and “They Go Boom” (**1/2).
Thanks so much John. Yeah, the Jet loss was hard to swallow after they had won in grand fashion the two weeks prior against the royalty of football. But I guess this is why one can’t count their chickens. The Steelers are a hungry team. But I guess the Packers are too, so the Super Bowl isn’t an easy one to call.
A review of HIS GIRL FRIDAY coming at 24 Frames?
I’m excited to hear that John, as I know you’ll do it glorious justice. You’ve been on quite a roll lately and your appreciative comment sections have given you some amazing and well-deserved recognition by movie lovers. I completely agree with the five star rating. Of course just recently my site friend and colleague Jim Clark wrote up a brilliant marathon review two weeks ago.
BRINGING UP BABY is (agreed) another Hawks masterwork, as Allan has asserted here at WitD many times. You’re watching these two films in the same week is a divine undertaking! Kate is Great indeed.
99 RIVER STREET and THE CROOKED WAY are perfectly assessed here (in my opinion) in both capsule commentary and in star ratings. We’s been trying to get a legitimate DVD release on the Karlson for quite some time now.
Another spectacular Laurel & Hardy Festival there John, and I have seen all except two of these (though they are in the Region 2 box I own) Yes, “Them Thar Hills” is absolutely the treasure of the lot, but “Going Bye Bye,” “Below Zero,” “Busy Bodies” and others here are superlative. There little in my past (and yours I’m sure) that matches teh work of this iconic duo.
Timeless.
Many thanks for the typically spectacular wrap John!
The Jets loss was truly heartbreaking, especially when you consider their comeback from 24 to 0. But too many had assumed the wins over the Colts and Pats meant an automatic Super Bowl appearance. They had an amazing year, and can look ahead with some purpose in 2011-12.
As I said on your “The Divine Sister” thread, great you didn’t let the cold keep you in. But I see you had a full week all around. “The Leopard” was a great one to see on the big screen. I’m surprised that Affleck movie worked, and that the Siberian epic fizzled.
Frank, as I stated to J.D., THE WAY HOME was simply too reserved and at times plodding to work as intended. I am a lifelong admirer of Peter Weir, and would have liked nothing better than yet another excellent work from him, but this film never built up the emotional flourish that the end should have accomplished. Most of it was an endurance test to watch. THE COMPANY MEN was surprisingly well-made and memorable. Go figure!
Yes, THE LEOPARD was great to see on the big-screen and the Jet loss was a major downer. I know the New Englanders are celebrating though, as well they should. Ha!
Thanks so much my very good friend!
Looks like a slow day for the Monday Morning Diary. The way things are around here with the deep freeze, I’m figuring people’s fingers are too frost-bitten to type. Phoo-ey to the Jets. If they didn’t have that awful first half they’d be heading in for the big one.
Fred, I rarely get anywhere near a computer on Monday mornings (usually the first shot I have is after 1:00 P.M.) but this morning things are so bad at the #3 school annex, that I have been able to bring the kids in the multi-purpose room on the second floor. The temperature in the building is 40 degrees, and the heat is completely down. Of course, outside it must be about 20, after a night in the single digits. I hear ya on what you say here about people’s fingers being susceptible to frostbite! Haha! The comments at the thread are definitely down, but I always marvel at the regularity of the traffic week in and week out.
I saw the ending of the Jets game and was bummed.
Many thanks my friend!
The kids are always watching some vintage Our Gang comedies as I type this to you.
Hey Sam, thanks for the shout-it. Always appreciated, my friend. Too bad you didn’t think more of Peter Weir’s new film. I’m a big fan of his work and have high hopes for it but perhaps he’s been away for too long and lost some of his mojo? Still curious to see it, though.
J.D., many thanks to you. I will definitely be over to Radiator Heaven later today to respond to that excellent review you have penned. I didn’t hate the Weir film, but thought it was rather flavorless, and two laid back for its own good. Like you I love Weir, and have made a living out of praising the likes of Witness, Dead Poets Society, The Last Wave, The Year of Living Dangerously, The Truman Show, Master and Commander, The Mosquito Coast and especially Picnic at Hanging Rock. He is master-class in my book.
For those who haven’t yet seen J.D.’s great review of THE MOSQUITO COAST, at RADIATOR HEAVEN here is is:
http://rheaven.blogspot.com/2011/01/mosquito-coast.html
Mnay thanks my very good friend!
Sam,
Yeah, MOSQUITO COAST is certainly not everyone’s cup o’ tea that’s for sure! I look forward to reading yer comments for TO LIVE & DIE IN LA.
Thanks for the mention Sam! I saw Another Year last week and enjoyed it! A review is on my page.
Hope you’re having a great winter so far, if there’s such a thing… Toronto saw the lowest temperatures this year so far this past weekend.
Oh, many thanks Dave, and for the heads up! I will be heading on over to your place today to check out Mike Leigh’s ANOTHER YEAR, which is definitely one of my favorite films of 2010!
Yes, record lows in the NYC area and endless snow falling. I’m not at all surprised that you are having teh same in Toronto! We do what we can to stay warm, and keep busy!
Thanks very much for the mention Sam. Here in the UK we don’t have quite the same extremes of cold and heat that you do there.
This week I saw:
NIAGARA ***
TAXI DRIVER ***1/2
LONESOME ****1/2
Indeed Stephen, as your island gets the warming currents. Still, as Judy, Bobby and Allan have made claim, you’ve had one of your harshest of winters.
I know about TAXI DRIVER (and the astounding review you’ve penned for it while watching it) but the other two ratings there are new to me of course. NIAGARA is a strong noir, and maybe Hathaway’s second best film, but again it’s one that has split the criitics. LONESOME, on the other hand is univerally venerated, and your summary rating further enforces it.
Many thanks my very good friend!
Hello Sam. It has been a while! As I sort of alluded to in an email back in October or so, I needed to drop out of circulation, as I had to focus all of my efforts elsewhere. Now trying to do a little bit of online scribbling once more, but it will be quite low-key. To this end, I have swapped No Ordinary Fool for SmiledYawnedNodded, which is an entirely impertinent nod to James Joyce.
Anyway, the first thing that I wanted to ask you is if you will be going to see the Abbey Theatre’s production of John Gabriel Borkman at the BAM? Some excellent acting in it, even if the staging of the final act was surprisingly hammy during the run that I saw in Dublin (they may well have improved it since!).
Also, without spoiling for too much of a debate the first day back, I definitely thought that JOHNNY MAD DOG was a very powerful film. Despite a mostly amateur cast (a scary thought in itself re what real life events that they must have been channelling here), it was ferocious, breathtaking & frighteningly convincing filmmaking. For me, it was less LORD OF THE FLIES, though, and more an excellent portrayal of how the brainwashing of children has been deliberately conducted by adults from the comparative benignity of the Jesuits through to the downright sinisterness of Hitler’s Youth, the Khmer Rouge, and the Taliban. Indeed, there are many real-life examples of kids in various African conflicts believing that magic potions make them bullet-proof, etc. However, what I think really made this film for me was the fact that as terrifying as these child soldiers were, the battle-hardened men who appear briefly at the end are even more cold-blooded & dangerous again. Saw it twice in cinema and this post has reminded me to add it now to my DVD ‘to buy” list!
As I just expressed at your wonderful new abode (I like that irreverent nod to Joyce) I can’t say how happy I am that you are back Longman! It’s been a dry spell with you on the sidelines, and have missed your candid evaluations and biting wit in your theatre and film reviews. I was fearing I wouldn’t be hearing from you and am grateful you have again graced this thread with your exquisite taste. Best Wishes to you at ‘SmiledYawnedNodded’ and to everything you do my friend.
OK, I nearly attended a staging of “John Gabriel Borkman” last week, but I failed to give the go-ahead to ‘Broadway Bob’ due to the very high price of the available tickets ($70 a person) which is double for Lucille and I. With the many events I attend on a number of fronts, I just can’t justify spending that sum of money. Bob later admitted there were lower prices in the balcony, but that he was adverse to sitting there. I saw Rickman in THE CREDITORS months ago and have heard much about this production. It does still run until February 6th though, so I may yet have another shot. BAM is also doing “Lear” in April with Derek Jacobi. I’ll definitely be there. I have “Driving Miss Daisy” for this coming Thursday on Broadway with Vanessa Redgrave and James Earl Jones, and on Saturday we will be at the Irish Repetory Theatre for Brian Friel’s “Molly Sweeney.” I am wondering if you know this one. I’m certain you do. In any case, I will keep the prospects for a staging of of the Ibsen alive. Many thanks for the reminder and positive assessment.
http://www.irishrep.org/
As far as JOHNNY MAD DOG I will say that I liked it too. The LORD OF THE FLIES comparison was actually suggested by another blogger critic, but it was something I would have posed, being a devotee of Golding’s book both in and out of the classroom. I think the use here is mainly as a symbol, rather than any contention as to the way the kids were ‘brainwashed.’ It is indeed a very frightening and powerful film, and obviously a precautionary tale (though we are past that point, are we not?) You capsule here is fantastic, and like you I can’t wait for teh chance to see it again!
Corny Longman, I know, but here we go:
“Welcome home Ethan.”
http://www.bam.org/view.aspx?pid=2649
“Welcome home Ethan”
So long as you are not planning on giving me a kiss! Of course, you are being hopelessly kind, as always.
I must admit to being shocked at the cost of those tickets. Outside of the premium seats, theatre-goers would have paid $15-35 to see it in Dublin… For that price, I could not make a recommendation to anyone that was not gold-plated and diamond-encrusted in terms of what to expect. As good as Borkman is, it does not met those standards!
I have not seen “Molly Sweeney” actually. I will be seeing “Translations” later this year though and Mr. Friel is an excellent playwright.
No to the new Peter Weir, Sam? Damn, I was looking forward to it.
“Picnic at Hanging Rock” is such a stunner.
If the Forum ever runs a series of Antonioni or Godard or Von Sternberg, I’m hopping a plane to NYC. I’ve only seen “Red Desert” and “Weekend” on the big screen, both in the upper realm of film.
Itching to see some vintage Godard (Contempt, The Married Woman, Pierrot le Fou), but all I could find at the video store was “Tout Va Bien.” C’est dommage. When Jane Fonda appeared spouting “male chauvinist pig” my heart sank. Mired in early 70s anti-capitalist, Marxist-Maoist rhetoric, badly dated and faintly ludicrous now. Two big, rich stars, Fonda and Montand (check the irony. Ha ha, Jean-Luc), but I’ll give it two little stars (**). Not my favorite Godard.
Coutard (who photographed many Godard films, but not this one), Nykvist, Almendros, Zsigmond, Storaro, Wexler, Ondricek, Fraker, Willis, Unsworth, Kovacs, Hall. Once upon a time when film was golden, cinematographers were almost as famous as directors, indispensable co-stylists. Who says nostalgia is overrated?
Well, I hate to go all John Simon on your ass, but…
“Black Swan” – What the fuck! Forgive me, what in the name of all Muses was the inspiration behind this film besides Tchaikovsky? “The Red Shoes”? Gelsey Kirkland’s autobiography “Dancing on My Grave”? Cocteau? Lynch? Ken Russell? John Waters’ “Female Trouble”? Temporary psychosis?
I haven’t been this sickened by a film since Altman’s “3 Women” and before that Nick Roeg’s “Performance,” both fake serious and both the Lilliputian progeny of a giant forebear, Bergman’s “Persona,” one of the pinnacles of 20th century art and arguably the greatest film of them all. But to speak of “Black Swan” and “Persona” in the same breath is to besmirch Bergman, so in memoriam I apologize to the great Swede.
The loss of personality is “Black Swan”s theme, I guess. Reality vs. fantasy, with fantasy trumping the former because sometimes art and artifice is more real than reality, etc., etc., etc. But the theme isn’t dramatized because Portman is schizo from the get-go, with her penchant for self-mutilation. Truly, a Girl Interrupted and just to remind us there’s Winona Ryder, more talented as a kleptomaniac than as an actress.
Portman becomes a danseuse macabre, a one-woman folie a deux, monomaniacal about ballet because she’s sexually blocked. She can dance the White Swan, but the libidinous Black Swan paralyzes her. And she’s stuck with a stage mom from hell (Barbara Hershey, who looks like a can of worms), a failed ballerina-diva who doesn’t do much to shore up Portman’s borderline sanity. So the mental fissures explode into a huge schism in a flourish of special effects in the Cronenberg sci-fi manner. But instead of the Fly, Portman becomes the Black Swan and oh, brother, I can’t continue.
“Persona” opens with a bright white screen after the credits, thus establishing a tone of abstraction which is held throughout. “Black Swan” ends with a bright white screen before the credits but here it’s just an affectation.
Caught up in this absurdity is Natalie Portman, a beautiful girl, utterly believable as the ballerina – in the words of Victor Hugo “a dove in a nest of scorpions.” The only validity in the film comes from her acting, and I’m just guessing she did her own dancing because Aronofsky keeps cutting away from her, fragmenting and fetishizing her different body parts. If so, Portman’s dancing reminded me a little of Vanessa Redgrave’s magnificent hubris in “The Loves of Isadora” where she ‘performs’ some of Duncan’s revolutionary dances. Portman isn’t in Redgrave’s class, not yet anyway, but she acquits herself well in a poorly conceived role. If she wins the Oscar, brava for her. I’ll give the film one star (*) for Ms. Portman’s beauty and talent.
I entered the theater wanting to like “Black Swan” and left it feeling very depressed. Depressed because otherwise sane, intelligent people take all this nutsy display seriously. But is this farrago of web-footed plies and puke the best American film has to offer these days? This and the remake of “True Grit”? Stratospheres above the corn of Hathaway’s version, but still a remake. I don’t even have the heart to drag myself to the much-lauded “Social Network.” The new breed of uebermensch world-beater billionaires. Blow me, Mr. Zuckerberg. You’re probably a cyborg or some other non-human species of life.
Still, maybe. Reese Witherspoon’s “Water for Elephants” could go either way, Felliniesque or DeMille. And I plan to see Weir’s new film. While there is life there is hope.
It’s curious how a film can lead one to a novel or vice versa. Right now I’m reading some Heinrich Boll after watching von Trotta’s “Katharina Blum” again. Slowly, and very carefully, I’m inching to the conclusion that von Trotta is the best director now at work. Large pronouncements are always risky, but I haven’t seen anything quite like her since another German, Fassbinder, staggered me with “Fear Eats the Soul,” “Effi Briest” and the monumental “Berlin Alexanderplatz.” I’ll keep you posted, but if I’m wrong it won’t be the first time I’ve feasted on crow. Back in the day I was certain, nay positive, Mike Nichols was evolving into an American Antonioni (The Graduate, Carnal Knowledge), and I don’t have to remind you how painfully that turned out (Postcards from the Edge, The Bird Cage), so…
Later my good friend(s),
M. de Charlus
Hey Mark! Yet another banner submission! You take on so much here, and I am wondering if I can do any of it justice. Ha! John Simon indeed. There’s a man who hated Godard with a passion, once opining that watching his films was much like “masturbating on the screen.” He was the master hater, yet his book on Ingmar Berman was one of the best of it’s kind, and he’s a supreme intellectual critic. Just a very nasty one!
Your list of cinematographers is a supreme one! I’d add Miyagawa, Rosher, Matres, Toland, Cardiff, Mate, Totheroh, Burel, Cloquet, Krasker, Tisse, Slocombe, Alcott, Freund, Edeson, Deakins, Alton, Idziak, and some others to the mix, but as always it’s personal taste to a degree. Aye on that particular Godard. I rate it a bit higher, but your reservations are well taken, and it’s not in the upper etchelon.
Your objections to BLACK SWAN? Well, you may well know my own position, which after two viewings isn’t all that complimentary. I do buy into your ‘no personality’ proposition, and am equally appalled at any favorable comparison with Bergman’s PERSONA (which I also consider among the greatest films ever made!) And dragging poor FEMALE TROUBLE in this argument? LOL!!!! Just kidding of course as I love that film! But I can see some elements as well as all the others you mention: Russell, Cocteau, Lynch. Theye are all present here in one way or another, but the melting pot hasn’t yielded anything so special as you note with refreshing candor! The staff here at WitD is split: Allan and Maurizio are fans to varying degrees, while Jamie Uhler and I aren’t keen on it. Our good friend Tony d’Ambra has issued some serious praise for it as well, as has Craig Kennedy; Jon Lanthier is not a fan. Laurie Buchanan has given the film a very well-posed and passionate assessment. So of the people I always respect there is a split verdict. You are now the ring leader of the nay-sayers! Are you ready Mark to lead the charge? Are you ready to take man the tanks, and charge with the same vitriolic resolve that you have already demonstrated here? Ha!!!! I thought so! I found the film mean-spirited and thematically unconsumated (to put it mildly) and emotionally distancing. But as I’ve said here many times, ‘beauty is in the eye of the beholder.’ Nobody’s opinion is ‘better’ than anyone else’s. It’s just our goal to make a convincing argument for our own feelings. I think you should give THE SOCIAL NETWORK a shot. I think you will find some merit there, but to what degree I am not sure. I also would like to know what you think of THE KING’S SPEECH. My very good friend and colleague Jamie Uhler has referred to it as ‘formula,’ but is ‘formula’ really such a bad thing? In my book it’s not, as there are some wonderful things in the film. THE MADNESS OF KING GEORGE followed that formula too but it was still a great film. What position are you embracing?
I would LOVE to know what you think of Boll’s writing!!! Really!!! And I love that Fassbinders you mention here quite a bit. What did you think of “In the Year of 13 Moons,” if I might ask?
Anyway, another masterpiece of stream-of-consciousness here! You know how much I appreciate that my friend! You are quite the unique fellow! I hope you head down to NYC at some point! I’d love to meet up with you.
Hello Sam and everyone,
I think I may have gone over the top in reviling “Black Swan.” I hope I didn’t ruffle any (Black) feathers at WiTD!I vow never to compare another film to “Persona.” Bergman’s film exists to be gazed upon or endlessly contemplated, like Michelangelo’s Sistine Chapel, another wonder of the human mind. That’s all.
Aronofsky seems more interested in Aronofsky than in Portman, which bothered me because Natalie is so truly lovely and, I’ve since learned, does her own dancing here. It’s a beautiful, fragile, poised piece of acting. An exquisite girl in hideous claptrap. And I misquoted Hugo. The quote should read “scorpion in a nest of turtledoves,” and refers to Marius’ discovery that Fauchelevants is really ex-con Jean Valjean. I need to fact-check and proofread before spewing.
But why, why, why is Portman in a new “romantic comedy” with Ashton Kutcher, Mr. Smug Fratboy in excelsis? Out of respect for Portman I’ll bypass this one.
Haven’t seen “In the Year of 13 Moons,” another gap in my filmgoing. Has anyone at WiTD seen the recent “Howl”? I haven’t, but I’m beginning to like this Franco –“127 Hours,” which I hope to see this weekend, a PhD from Yale and a daytime soap. Is he for real?
I just finished Boll’s “The Silent Angel,” published posthumously in ’92 but a work he’d begun in the postwar 40s. The novel is heavily symbolic, but beautifully austere and I think I’ll buzz through it a second time since it’s really a novella. Some passages are so bleakly powerful they’re a little hard to take. You’ve read it I’m sure.
My friends, I’ll check in Monday and leave the vitriol at the door. I don’t like to be angry (one of the stages of depression, and “Black Swan” is really depressing). I wish every film could be a masterpiece, but there ain’t no way, not in this world.
As always, thank you for the mention Sam. I wish I had some interesting news for you this week. I did get out to see “The Leopard” as well and it looked gorgeous. I’ve read the book so I knew what was going on, but I wonder what I would have thought if I hadn’t read it. I’m reserving judgment until I see it again.
I only made it out to two new releases:
Summer Wars: ****
Barney’s Version: ***1/2
The Dilemma: Truly, wretchedly awful. It made me rethink giving “Season of the Witch” no stars, because I would much rather sit through that several times more than watch this terrible movie again.
The best of the bunch here was clearly “Summer Wars” (though it is nowhere near the best of the year). Paul Giamatti is worth checking out in “Barney’s Version” as well.
Many thanks again Jason, for your yeoman contribution to this thread!
That’s remarkable that we both saw THE LEOPARD the same weekend, though unlike you I never read the novel. I would imagine one’s perception would be altered with that experience under the belt, but still in a very positive sense. I have not yet seen either SUMMER WARS nor BARNEY’S VERSION, but I have heard about Giamatti and Hoffman’s work in the latter, as well as the quality of the former as attested to by our own Bob Clark, who placed it in the #1 position on his year-end ten best list. (I know you feel that’s going too far.) I have stayed clear of THE DILEMMA. Your uncompromising dismissal won’t be changing my resolve! Ha!
Many thanks for the great wrap Jason! We’ll talk soon my friend!
Sam, I saw The Leopard at the good old Brattle in Cambridge about 16 years ago and I was so bowled over by the visuals and the mood that I didn’t mind as it sunk in that two reels had been run in the wrong order. That film’s virtues transcend plot. It’s definitely one to be seen on the big screen if an opportunity arises.
I saw nothing quite that good over the weekend. The best of the lot was probably Richard Quine’s Pushover, a fable of relentless consequences featuring exemplary work by Fred MacMurray and the debut of Kim Novak. Phillipe de Broca’s Cartouche was a thoroughly enjoyable old-fashioned entertainment with broad comedy and pathos and starry work from Belmondo and Cardinale. Masahiro Kobayashi’s Bootleg Film is so obvious about its homage to Tarantino that it references Reservoir Dogs explicitly and repeatedly, but I admit it was funny to hear two Japanese debate the pronunciation of “Steve Buscemi.” Mikio Naruse’s When a Woman Ascends the Stairs is one of those films I can admire for its craftsmanship and acting but it may also be just too much of a “women’s picture” for me to make too much of it. And Ted Nicolaeu’s Subspecies is what it is, though I think it holds up better as a B movie after twenty years than I would have thought back in the day.
From the land of twelve below zero: keep warm, everybody!
Samuel, I did figure with your long history of passion and expertise on Italian cinema, that you would appreciate seeing THE LEOPARD in this fashion. Or in any fashion for that matter. After you get use to the overdub on Lancaster’s voice speaking Italian, it’s clear sailing. The print was crystal clear, and true to Vinconti’s color and composition, and all things considered at least as pristine as the Criterion blu-ray on a much larger screen of course. That experience you had at the Cambridge is funny, especially as such a ‘minor’ thing as sequential order was relegated to the back burner! Ha! I hear ya, and agree with you on the predominate virtues. Oh I know PUSHOVER, and only saw it for the first time recently. Agreed on MacMurray and Novak! CARTOUCHE boasts some stunning color cinematography by French lenser extraordinaire Christian Matras (GRAND ILLUSION, EARRINGS OF MADAME DE, LOLA MONTES) and a rousing score by Georges Delerue. The plot and essence isn’t anything special (no SCARAMOUCHE, that’s for sure) but it’s engaging in a sensory way. I like Naruse’s film a bit more, but your reservations are sound for sure. I’m definitely curious about that Kobayashi, which I haven’t seen yet and appreciate the reference to Tarantino. I haven’t seen SUBSPECIES.
Yes, you are in an arctice shelf there Samuel in the Albany area, and anyone here who complains shouldn’t lose site of that! Ha!
Many thanks as always for your deeply appreciated submissions to this thread. You remain a class act my friend!
Funny that you should mention Scaramouche, Sam. I found TCM in the middle of it last Saturday afternoon. The Granger-Mel Ferrer fight is one of those things I’ll always stick around to watch when I find it on.
About this younger Kobayashi: I hadn’t heard of him before the Albany Public Library acquired a small bunch of his films. While I found Bootleg Film pretty shallow, it was nicely shot in widescreen black&white, so I may still try the other films. And my reservations about the Naruse are admittedly subjective; he impressed me as a widescreen stylist as well.
Aye Samuel! That’s a classic swashbuckler, and that duel is one of the all-time classics for this kind of film! Thanks for the clarification on the Kobayashi availability and on Naruse, who is indeed a widescreen stylist as you asturely note. My favorite Naruses of all are FLOATING CLOUDS, REPAST, THE WANDERER’S NOTEBOOK, LATE CHRYSANTHEMUM, WHEN THE WOMAN ASCENDS THE STAIRS, and MOTHER. Thanks again my friend!
Sam – My geographic location is suffering COLD sympathy pains with you folks because we’ve had single-digit temperatures as well. Brrrrrrrr!
If THE DIVINE SISTER ever comes to the greater Chicagoland area, you’ve definitely whet my appetite and I want to see it!
Thank you for pointing to Speaking from the Heart.
Laurie, I would think all things considered you’ve had it even worse temperature wise, even if a bit less snow in inches. The entire country has been hit hard this winter, with one of our Atlanta contributors attesting to the most snow he’s ever seen down there in his life! As I stated under your kind comment on the review thread, I don’t doubt that the humor in THE DIVINE SISTER would surely resonate with you. I am thinking it will move to Chicago after the New York run. But we’ll see.
Many thanks my very good friend!
I’m completely jealous that you got to see The Leopard in the cinema. I don’t know purpose this comment serves other than to give you an opportunity to gloat but – here it is! Gloat if you must!
Jean: Many thanks for this comment and the two great ones you entered on the Rivette threads. This was quite an unexpected treat! I’m sure Allan will address your question tomorrow. In any case, be rest assured I am NOT gloating, and would have loved to have you there for THE LEOPARD. Apparently this print in making its rounds, as Jason Marshall just attested. Jason also saw it this past weekend in Los Angeles, so I bet it will hit some other major cities. Depending where you are, you may get the chance to see it. I do hope so!
Many thanks my friend for the great comments!
Sam, thanks for showcasing that out of all things, I really thank you and I’m way too thankful for this. I thought of you quite a lot yesterday, Sunday, the day of my birthday and how thankful I was because I got to know you and you actually improoved my life at hard times: you recognized something valuable in me and I’m in debt always.
Getting to 21 makes you wonder a lot of stuff… I think… because it is, after all, just a number, a thing that doesn’t really matter to me anymore, I just live life now and try to make sense of it later.
You sure had a lot of outings this week, including a play, which is nice. Of all of them, I really want to see “The Way Home”, but your rating really makes me wonder.
I have some notice that “Biutiful” will open this week, I don’t know if near you, but I can assure you that it’s a must see, I don’t know why I have a thing in me that says you’ll like it, but if you don’t, well, you can always blame me.
This week was fully energizing. Tuesday my mom and brother went out to the countryside, I had to follow them soon, but I managed to get two extra days in Santiago. Thursday were the awards in ATIN, the Academy/Theater group in which I act, I went with her, after all, that’s where we met. Unexpectedly I won best actor of re-runs and we won best re-run play. Then came the unexpected at all, I won best actor of the year 2010, of all the actors, it’s me, I won and it made me super happy, and then the play “Ardiente Paciencia”, the one based on Il Postino, won best play of the year, and I played a small part there (so did my girl) and it was excellent.
That evening I went to the countryside, Talagante, to my uncle’s house while he goes on vacation. Pool, cable, good stuff. Sunday was my birthday and I’m not allowed to say what I did, but I didn’t make a party, that will be around February.
Movie wise, I saw:
– Blow Out (1981, Brian de Palma) ****1/2 Wow, this was really good. Excellent colours, excellent plot, kept me at the edge, and excellent acting from Mr. Travolta.
– The Fighter (2010, David O. Russell) ***1/2 Not a fan of this, but it featured some excellent acting. After all, Rocky and Raging Bull are really unbeatable.
– The Green Hornet (2011, Michel Gondry) ***1/2 Dissapointment from two points of view: Gondry’s artistic visual career and Rogen’s act, that with this has tired me. Still, some stunts and jokes save the whole thing from being a mess.
– The Informant! (2009, Steven Soderbergh) **** Saw this on cable and decided to give it another watch. This is one talky movie! Hahahah. Loved it, really funny and one of the best acting of Damon ever. Should see it once more.
– Six Figures Getting Sick (1966, David Lynch) **** Saw this short because of Lynch’s birthday and the video megapost that I did last week. It’s experimental, sickening and totally Lynch.
– X-Men: The Last Stand (2006, Brett Ratner) *** I hadn’t seen this. Can’t say I’m a fan of this franchise, but X2 was really good. This one was just silly and unintentionally funny. It tried to talk about some serious stuff, but didn’t cut the cake for me.
Yeah, 2011 looks bright ahead. Just ask me. Hope it is as good for you Sam, and all the other people in this wonderful place.
You are an amazing person Jaime. I don’t think any blogger at any site could hope to hear nicer words than those, nor as rewarding. I assure you that the honor is mine, (and everyone else here at WitD) You have not only enhanced the scholarship with your remarkable erudition, but you have fueled this vital thread with your open-mindedness and fascinating discussion of Chile and your time at the University there. You brought us into your life, and have touched upon things that really matter much more than whether or not we like a film. The site moved in the right direction when people like Michael Harford, Terrill Welch and Laurie Buchanan came aboard, as they brought a lived in perspective, and the desire to maintain a great friendship. Some call this street-wise, I liken it to much more than that. That was a very tiny thing I did, yet you demonstrate a remarkable graciousness that just about has me speechless. (though obviously I’m not. Ha!) But you have really brightened up the place, and somehow, despite my extreme age difference (but I have a kid’s mind anyway) I feel like you are the friend down the block. Your writing has been exceptional, your focus diverse (film, literature, music, domestic life, drama, etc.) and your passion second to none. I love getting your recaps on this thread as I always learn something new. I was also in college at age 21, but I wasted way too much time helping local politicians in my home town, a sacrifice that cost me time and a more benficial focus. You are pretty far at 21, and you already have embraced the right (relative) attitude of taking things they way they fall.
You won BEST ACTOR of the year 2010???
That is utterly fantastic!!!!!!!!!!!
Congratulations my friend!!! Your intensity and dedication has paid off in spades!!! I was honestly waiting to hear news of this kind, and I am thrilled that you have made good on that prohibitive time investment. But beyond that you are sure to get some new parts! This may be the career you persue, but you’ll have to make that decision. The other reason to celebrate is that both you and your girlfriend appeared in the play that was awarded the best of the year! Even without the other (major) honor, this alone would have validated your efforts.
Talagante sounds like a dream spot, but in any case you made it so with your activities! Yes, you are entitled to keep your birthday activities secret, though you have conveyed much of the hoopla.
I won’t forget your opinion of BIUTIFUL, and hopw to see it very soon. I do love Mr. Bardem, (and liked BABEL more than most) so I am hopeful it will be a worthwhile screening.
BLOW OUT was just announced for an April Criterion DVD release. That will be SOME set. I am not the biggets De Palma fan, but this film is one of the exceptions.
Agreed on THE FIGHTER. Very good acting, but nothing knew on the fight front. \
I haven’t seen THE GREEN HORNET yet, but aim to. I have respect Gondry in the past (for the obvious reasons) so I’d be inclined to give this film a shot. You seem to believe it’s (barely) worth a crack. I haven’t yet seen that Lynch, but will at first opportunity. The X MEN installent hereis passable, I’ll leave it at that. I was less enamored of THE INFORMANT, but I have always blamed myself for this view.
You may find my position on Weir’s film as completely off-base, but we’ll have to see. I think you and i both love the director for his career!
Many many thanks my excellent friend!
Oh, thanks Sam for this.
I forgot!
I also saw DEVIL’S DOORWAY, but you already know that (****). And yesterday I saw the Sam Flick Pick that it’s showcased today. Enjoy!
Aye, Jaime, DEVIL’S DOORWAY indeed. I will be checking out your new entry in that ever-so-flattering series at Exodus: 8:2. Many thanks!
Thanks again for the mention Sam. I am still waiting to see The Company Men but I did see Johnny Mad Dog a year ago and it was interesting in parts especially with its raw verite style. Although overall, I was disappointed and agree with your rating of the film. So I got the book hoping it would be a much more richer work but I have not managed to read it yet.
Sachin, many thanks to you as always for stopping in. I actually liked JOHNNY MAD DOG, and settles on 3.5, though I was tempted to go 4.0. Still, the 3.5 is a good rating for me, though not an indication of excellence. I agree with you on the raw verite style, and it’s uncompromising sense of urgency. It’s hard to believe, but I guess I felt that way with Meirelles’ film too. Wow, I never knew there was a book out on it. I’m sure THE COMPANY MEN will be easy to see.
Am I really recommending a film that has Ben Affleck in it?
Yep, I’ve lost it!
Again, thanks so much my friend!
No you have not lost it 🙂
there is valid ground for this recommendation. Ben Affleck was in Boiler Room which I thought was an amazing film. Changing Lanes was interesting as well. So if he does not appear in a romantic film, then there is reason to believe some merit be in the work. But then again I should not extraplote just based on a sample of 2…
Aye Sachin, alas you are right. I’ve always dismissed Affleck (much I did over the years with Cruise, who was nonetheless effective in BORN ON THE FOURTH OF JULY and MAGNOLIA, due to his tinny voice) as a poster child for multiplex cinema, but you are quite right with BOILER ROOM. Affleck’s involvement with GOOD WILL HUNTING was always appreciated too. Thanks again my friend!
Lord it’s been the doldrums in the theaters…I almost wished I hadn’t seen all the Oscar hopefuls already (though there still is Blue Valentine…but that just seems like the type of movie I will appreciate more watching at home…too intimate and draining).
At any rate…a quick rundown of recent flicks watched on DVD:
Rabbit Hole – *** – A bit of a disappointment but a noble effort. Themes were a retread of better films that came before it, and though all the acting was good…I thought Nicole Kidman was horribly miscast — was she supposed to be adopted? She looked and acted nothing like her Mother and Sister (perhaps since she is the star, maybe they were miscast). I just could not get over that fact that these people did not look like a family.
Micmacs – ZERO STARS – incomprehensible and unwatchable after forty minutes.
Black Swan – watched it for a third time, and sorry naysayers, it holds up. ****1/2
Samson & Delilah – ***1/2 – Interesting…though hard to sit through. Liked the Delilah character and the odd music choices and cinematography.
Alamar – ***1/2 – In a more meditative mood I might’ve enjoyed this more. Beautifully simple at times, though also almost so “natural” it became nonexistent for stretches.
The Expendables – Negative Ten Stars – Absolutely worthless garbage. Not even any decent action scenes.
Sam, you know my love of Lourdes (****)…and, oh, yeah, I also watched Flipped which was a harmless but pointless “family” film that I guess I’ll give **1/2.
David, you have been sorely missed, but I know you catch a breather as the new year unfolds. Great to see these typically astute and frank assessments that (in this instance) are not all that much agreement with my own views. But whether we agree or not means close to nothing. What matters is what you bring to the table, and you my friend have brought a bounty of riches in assessing these Oscar hopefuls. Well, since you penned this, Ms. Kidman has landed a nod, so miscast or not (looking wrong or looking right) she’s in again. Of course she won’t win (the one time she did win she robbed the award from Julianne Moore in FAR FROM HEAVEN) as it seems that Natalie Portman is a cinch. If she falters, there’s Annette Bening up next. Anyway, I respect the rating and final judgement on RABBIT HOLE. The film moved me, but it didn’t resonate with a sizable minority.
LOL on MICMACS!!! I didn’t dislike it that much, but yeah it’s most bizarre!!!
I liked SAMSON a lot, but I’ll agree it is NOT an easy film to sit through by any means. It’s anthropological aspects did have me fascinated though, throughout, and the romance was affecting.
About right on ALAMAR as far as I see it, and LOL on EXPENDABLES, which I have avoided!!! You are not mincing your positions today!!! I love it!
We’ve been talking about BLACK SWAN all day here, it seems. Well, here is the way I see it or know it based on what people have unveiled:
PRO CAMP (to varying degrees)
David Schleicher
Tony d’Ambra
John Greco
Jaime Grijalba
Allan Fish
Maurizio Roca
Craig Kennedy
Pierre de Plume
Ed Howard
Jason Bellamy
Kevin Olson
Troy Olson (with reservations)
Dave Hicks
CON CAMP (to varing degrees)
Jamie Uhler
Jon Lanthier
Marilyn Ferdinand
Jason Giampietro
Pat Perry
Srikanth Srinivasan (Just Another Film Buff)
Bob Clark
Sam Juliano
The yeas are winning, but I will add to this as soon as I get more set views.
Thanks as always my very good friend and welcome back!
Thanks very much for the plug, as ever, Sam, and hope the cold weather lets up for you and for others currently in its grip! I made it to London at the weekend for the Howard Hawks festival at the BFI – the two movies I managed to see were ‘Ball of Fire’ and ‘Come and Get It’. I definitely enjoyed the first of these the most – hilarious, and with great performances by both Barbara Stanwyck and Gary Cooper. Unfortunately it appeared to be an unrestored print in dodgy condition, but hugely enjoyable nonetheless. As a fan of 1930s melodrama I also enjoyed ‘Come and Get It’, though I definitely thought the first scenes were the best and that it falls off later, especially towards the end where Hawks was fired and William Wyler was forced by the studio to take over.
Apart from that, at home I’ve watched two Michael Curtiz movies from box sets I got for Christmas, the Western ‘Dodge City’ starring Errol Flynn… and ‘Casablanca’ for the umpteenth time!
CASABLANCA? What’s that Judy?
It always makes a double feature a winner, regardless of what the second feature is! That much we know from ample experience. But the Errol Flynn DODGE CITY is very enjoyable (great Techicolor!) and it boasts a superlative Max Steiner score, when the composer was at the height of his powers. One can easily assert that you can’t go wrong with Curtiz.
Again you have availed yourself of London’s cultural riches, with this splendid BFI Hawks retrospective! Sorry to hear about the print for “Ball of Fire” but you were righly having far too much fun to notice. That maybe the film that contains Stanwyck’s most inspired performance. I like “Come and Get It,” but I do hear what you are saying about the later reel. I guess it would rank somewhere in the middle of Hawks’ prolific output.
As I know you are a supreme Bard advocate Judy, I wanted to appraise you of what’s coming up at BAM in April, a show I will be attending with Lucille and Broadway Bob:
http://www.bam.org/view.aspx?pid=2653
Many thanks again my very good friend!
Wow. I will look forward to hearing what you think of that King Lear starring Derek Jacobi, Sam! And, yeah, Max Steiner was brilliant – I’d really like to know more about him, as his music features in so many of the great films of the period.
Judy:
Steiner ranks with Bernard Herrmann as the two greatest composers in film history. True, Ennio Morricone, Nino Rota, Erich Wolfgang Korngold, Alfred Newman, John Williams, Miklos Rosza, Franz Waxman, Elmer Berstin, Jerry Goldsmith, John Barry and a few others can be argued for the top spots any day of teh week, but Steiner and Hermann, Herrmann and Steiner, are the two irrefutable giants of film composing.
How’s this for Steiner’s “reume?”
King Kong
The Informer (Oscar)
Gone With the Wind
Casablanca
Since You Went Away (Oscar)
The Life of Emile Zola
A Star is Born (1937)
Mildred Pierce
They Died With Their Boots On
The Big Sleep
Johnny Belinda
The Fountainhead
The Caine Mutiny
A Summer Place
Battle Cry
Jezebel
Now Voyager (Oscar)
The Treasure of the Sierra Madre
The Gay Divorcee
The Most Dangerous Game
Sergeant York
Morning Glory
He received 26 nominations during his spectacular career.
Dodge City
The Searchers
The Letter
Of Human Bondage
An amazing list there, Sam. Add to that lot ‘City for Conquest’, where Steiner composed all the extracts from the symphony supposedly composed by Cagney’s brother in the film!
Absolutely Judy! That is a major omission here! Stupendous work on that one!
Thanks a lot for the mention, Sam.
You seem to have had a decent week as far as movie-watching goes. Well, I think I can say the same for me as well. I watched a couple of brilliant noirs – Act of Violence (whose review I’ve posted) & The Big Combo, a couple of Woody Allen films – Zelig & Stardust Memories, & a recent release called Dhobi Ghat (Mumbai Diaries).
I’ve a lot of work lined up for the next few days, so lets see if I can squeeze a film or two in between.
I wish you luck Shubhajit, and hope you do get in a few. MUMBAI DIARIES opened here in the NYC area this week, but I couldn’t get to it. I’d be very interested in knowing what you thought of it!
Great to see you continuing on with the Woodman, and with two very good ones at that. STARDUST MEMORIES is one of my absolute favorites in fact. I’ll be looking in on your ACT OF VIOLENCE review very soon, and hope you manage one for the underrated THE BIG COMBO too.
Thanks as always my very good friend!
Thank you same for the high praise for my new paintings. I really enjoyed working on the 3 X 4 foot canvas and look forward to doing that again sometime.
On the movie front, we recently slipped into Victoria B.C. and attended the IMAX theatre for the most impressive VAN GOGH BRUSH WITH GENIUS. This 45 minute beautifully designed documentary is a must for all creative beings but particularly painters. One of our artist neighbours made the ferry trip into the city to see it three times.
Last night we saw VERS LE SUD (Heading South) 2005 directed by Laurent Cantet. I wish the interview with the director had been subtitled as my French is almost not adequate. This film pushes on the edges of poverty, wealth, class, racism and sexism with such dexterity that viewers may be compelled to revisit their assumptions. A powerful film and one I highly recommend seeing – particularly before travelling to another country from North America or Europe.
That’s quite a daunting project there Terrill, but the end result will justify the challenge. I’ll be keeping my eye on the CREATIVEPOTAGER blogsite to see the glorious fruits of your labor as we move forward.
VAN GOGH BRUSH WITH GENIUS???
Wow, I’m not even a painter and I want to see it!!!! I’m sure you were thoroughly enraptured. I did manage to see Van Gogh’s “Night Paintings” including the masterpiece “Starry Night” earlier last year at MOMA and was properly awed. Your experience at this IMAX film no doubt enhanced your own sense of creative expression. Again, I can’t blame that one person for seeing it three times; I’m sure it was intoxicating.
The Cantet film is everything you claim it to be, and I must commend you on your fantastic insights in bringing in all the pertinents elements and themes. I like the film quite a bit, but oddly enough was mildly dissapointed with Cantet’s Palme d’Or win two years later in 2009 for THE CLASS. But I know that’s another story. HEADING SOUTH is indeed a film to recommend to travelers.
Thanks so much Terrill, for this excellent wrap!
Sam, let me know when that Fritz Lang Festival will be starting up. I have the schedule, and am interested in a number of the choices.
Here it is Peter:
http://www.filmforum.org/films/lang.html
The only nights I can’t make it are Wednesday and Thursday, the 2nd and the 3rd because of a conflict with opera and theatre tickets.
This week I watched…..
Winnebago Man ****
Klute *****
Cropsey ****1/2
The Parallax View ****
I know that most people would argue that All The President’s Men is Pakula’s best film but I will stand by Klute as his greatest. I’ve seen it four times now and it grows better with every viewing. Cropsey is an interesting horror documentary that is so creepy I regret not seeing it for the first time around Halloween.
Maurizio, I am one who would side with PRESIDENT’S MEN as well, but could hardly fault you for going with KLUTE! I am with you on that rating for the PARALLAX VIEW, and am a bit less enthusiastic with THE WINNEBAGO MAN and CROPSEY.
But another great week in your amazing roll that started back in November.
Thanks my excellent friend as always!
Maurizio,
Definitely I agree with you on “Klute”. I like it best among his 70s works. Its jagged narrative against bleak backdrop of NY is very effective, I think. And, of course, Jane Fonda and Donald Sutherland are just fabulous.
MI
This week’s viewings were:
TRUE GRIT (****) — Tricia and I were able to get out of the house for a night and went to see this in the theater (our first time at a theater in over a year). I liked it for being an unabashedly old-fashioned politically incorrect Western. No moralizing or deconstruction needed. Now, as many have said, you might expect the Coen’s to deliver more than that, as the film is quite shallow in theme. But a truly entertaining, well-acted, and beautifully photographed film is simply good enough for me every now and again.
UN PROPHET (****1/2) – If I consider this a 2010 film, then it’s likely my favorite of the year. Incredible performances by Tahar Rahim and Niels Arestrup, who along with director Jacques Audiard take a bunch of stock crime/prison/gangster film tropes and make them entirely fascinating and engrossing. It’s to their credit that even as the film can obviously be compared to films like SCARFACE and GOODFELLAS, to name just two, it always feels entirely original and exhilarating.
CATFISH (***1/2) – I know this film is manipulative and rather exploitive, but I still found it had emotional resonance despite that. Even as things are obviously heading in a certain direction, the investigation aspects of the film are quite enthralling and helped me to ignore the apparent narcissism of the lead character. An interesting take on fraud in the social networking age. (I should note that as is the case with many documentaries, once I find out how faked a lot of this was (which I am assuming, yet haven’t taken the time to confirm yet), my appreciation of it will likely go down).
Troy: Essentially, I am with you and Tricia on TRUE GRIT, even if I gave the film an extra half star to acknowledge the exceeding craftsmanship you yourself attest to. I was particularly impressed by Hattie Seinfeld and the cinematography by Roger Deakins (the latter a given of course). I do NOT compare it with my favorite Coen films however, but that would be another discussion. Ha!
UN PROPHET is a masyterpiece, and one of my favorite films of this past year. It’s a gripping and harrowing prison drama that raises the bar for tension, character metamorphosis and intense performances. (particularly by Rahim and Arestrup.) and it’s the talented Audiard’s best film.
I did find CATFISH manipulative, though I respect this split opinion on it for the precise reasons you propose here.
Thanks as always for the stellar report my friend!
Sam,
Thanks again for the mention, and comments for my posts. Your insightful comments are most welcome.
This week, I saw “Branded to Kill (殺しの烙印)” by Seijun Suzuki and “Hibotan Bakuto, Hanafuda Shobu (緋牡丹博徒 花札勝負)” by Tai Kato. Suzuki’s infamous film (Jarmusch’s favorite, inspired his “Ghost Dog”) is just fun to watch. Kato’s Yakuza masterpiece, rarely seen outside Japan, is noted for its stylistic composition (heavily influenced by, none other than, Ozu), and really well-acted by all. I am planning to post its screen cap in the near future.
Finally, “A Serious Man” opens here in February, and “True Grit” in March. Yes, it’s the Oscar effect, I’m afraid.
MI