Juan Diego Florez in title role of Rossini's "Le Comte Ory" broadcast in HD to movie theatres on Saturday
by Sam Juliano
Sydney Lumet passed away on Saturday in Manhattan at the age of 86, and Dee Dee is johnny-on-the-spot has a remembrance link on the sidebar for this great American director of such classics as 12 Angry Men, The Pawnbroker, Network and Dog Day Afternoon. Respondants to this thread are encouraged to name their own favorite Lumet films.
Again our thoughts are with Murderous Ink and the Japanese people during the continuing time of crisis in the far east.
My own week was occupied by a host of school-related matters, with the weekend saved for seeing several films, an HD opera and a stage play in a tiny Manhattan 4th Floor theatre.
Rossini’s rarely-performed middle-career opera Le Comte Ory, was broadcast on movie screens in HD worldwide on Saturday afternoon at 1:00 P.M. I traveled to Secaucus to watch and listen to this utterly delightfully spirited piece, often referred to as an ‘opera comique,’ one widely considered a difficult bel canto work to find the right singers for. I hope to have a full review up soon.
The staging of The Bad Seed at the Spoon Theatre was an abridgement of Maxwell Anderson work, which was in turn based on a novel by William March. Most of course well remember the 1956 film directed by Mervyn LeRoy, ad featuring Patty McCormach as the evil child Rhoda Penmark. I must commend this small company for making the most out of minimal resources, and of featuring some fine actors. The Spoon Theatre is tiny with only about 20 seats for atendees. Lucille, Broadway Bob and I attened the Thursday night show.
Director Kelly Reichert appeared to moderate the Q & A after the 7:50 P.M. screening of Meek’s Cutoff at the Film Forum on Saturday evening. The clothes worn by the women in this revisionist western feature were displayed in the lobby of the theatre. I liked the feel and the naturalism in the film and appreciate the deliberate pace, but it’s a difficult film to fully appreciate, what with nothing really happening throughout. But yeah that’s the point too. All in all I liked it more than Reichert’s previous two features. As far as Joe Wright’s Hanna, I’ll say I was disappointed and fount this actioner as largely forgettable, and the horror film Insidious is yet another with the paranormal slant that brings nothing new to the table. The jarring shocks eventually wore thin, though my sons Danny and Jeremy loved it.
Meek’s Cutoff *** 1/2 (Saturday night) Film Forum
Insidious * (Friday night) Edgewater multiplex
Hanna ** 1/2 (Sunday) Edgewater multiplex
The blogosphere links follow:
Tony d’Ambra has had a sizzling week. His recent poem on the Korean film Poetry, penned at Wonders is a treasure, and severla days ago he posted his greatest noirs of all-time list at FilmsNoir.net that respresents his first-ever attempt at such a venture despite his resounding expertise. The results speak for themselves (63 noirs that received 5 star-ratings from the Sydney native): http://filmsnoir.net/film_noir/the-greatest-film-noir.html
John Greco has a terrific review of Roman Polanski’s Repulsion up at Twenty Four Frames: http://twentyfourframes.wordpress.com/2011/04/08/repulsion-1965-roman-polanski-2/
At Scribbles and Ramblings Sachin has penned a great double examination on Roy Andersson films: http://likhna.blogspot.com/2011/04/roy-andersson-double.html
At Movie Classics Judy Geater has a wonderful post up in appreciation of James Cagney on 25th the anniversary of his passing: http://movieclassics.wordpress.com/2011/03/30/james-cagney/
At Speaking from the Heart Laurie Buchanan is on her way to a writer’s institute in Madison: http://holessence.wordpress.com/2011/04/07/the-writers-institute-uw-madison-2011/
Jason Marshall has named Hattie McDaniel as Best Supporting Actress of 1939 for her beloved performance in Gone With the Wind. His terrific essay is over at Movies Over Matter: http://moviesovermatter.com/2011/03/31/hattie-mcdaniel-gone-with-the-wind-best-supporting-actress-of-1939/
Ed Howard’s miraculous run at Only the Cinema continues with a superlative examination of Bernardo Bertolucci’s Partner: http://seul-le-cinema.blogspot.com/2011/04/partner.html
One of the most truly ecclectic of all bloggers, Samuel Wilson has penned a terrific essay on City of Fear over at Mondo 70: http://mondo70.blogspot.com/2011/04/city-of-fear-1959.html
Jaime Grijalba has a photo showcase of Sydney Lumet’s movies at Exodus 8:2: http://exodus8-2.blogspot.com/2011/04/sidney-lumet-1924-2011.html
At SmiledYawnedNodded Longman Oz has an excellent capsule reviewing leading on Ken Laoch’s Route Irish: http://smiledyawnednodded.com/2011/03/28/routeirish/
Filmmaker/blogger Jeffrey Goodman is leading up with an intriguing piece on “Social Media for Filmmakers” at The Last Lullaby: http://cahierspositif.blogspot.com/2011/03/social-media-for-filmmakers-guru-thomas.html
At Ferdy-on-Films Marilyn Ferdinand has a terrific review up on the documentary Concret, Steel and Paint: http://www.ferdyonfilms.com/?p=9418
Meanwhile at This Island Rod, Ferdinand colleague Roderick Heath has a stupendous essay up on Die Hard 2: http://thisislandrod.blogspot.com/2011/04/die-hard-2-1990.html
Jeff Stroud is leading up with a fascinating post titled “The Moment of Encounter” at The Reluctant Bloger: http://jeffstroud.wordpress.com/2011/03/28/the-moment-of-encounter/
At Living in Cinema Craig Kennedy remembers director Sydney Lumet: http://livingincinema.com/2011/04/09/sidney-lumet-director-1924-2011/
“A Friendly Farm Gate Chat” is topping at Terrill Welch’s wonderous Creativepotager’s blog. I strongly suggest joing Terrill on her modest shopping spree: http://creativepotager.wordpress.com/2011/04/02/a-friendly-farm-gate-chat/
At The Seventh Art Srikanth Srinivasan has penned an absolutely incredible essay on The Circus Tent (1978): http://theseventhart.info/2011/04/10/flashback-84/
The inspiring and resilient ‘Murderous Ink’ is enduring all the fears and inconviniences in Tokyo at the present time, enough to return to blogging about the cinema. His new piece at Vermillion and One Nights on 1957′s Downtown is a must-read for all serious cineastes: http://vermillionandonenights.blogspot.com/2011/03/downtown.html
David Schleicher has a great post up at his place on baseball movies as the 2011 season commences: http://theschleicherspin.com/2011/03/31/the-starting-nine/
At Darkness Into Light Dee Dee is on a celebratory holding pattern with some posts chronicling the past events, prizes, contests and noir happenings over the past weeks. No one has worked harder for so many just causes, and no one’s passion has been more palpable: http://noirishcity.blogspot.com/
Stephen-Russell-Gebbett’s latest exceptional post at Checking on my Sausages is on Auschwicz: http://checkingonmysausages.blogspot.com/2011/04/auschwitz-uwe-boll.html
Hokahey has penned an exquisite piece on the new Jane Eyre at Little Worlds: http://hokahey-littleworlds.blogspot.com/2011/04/beautiful-jane-eyre-2011.html
At Cinemascope, Shubhajit is leading with a terrific capsule on an Indian film shot in English: Memories of March: http://cliched-monologues.blogspot.com/2011/04/memories-in-march-2011.html
At the home of the venerated Coffee Messiah Michael Harford leads up with a most telling post on “Coffee and Art”: http://coffeemessiah.blogspot.com/2011/03/gettin-to-be-that-time-of-year-again.html
Kaleem Hasan’s Satyamshot remains the place to be for Indian culture, film, sports and politics:
J.D. has a touching remembrance up at Radiator Heaven on director Sidney Lumet: http://rheaven.blogspot.com/2011/04/sidney-lumet-1924-2011.html
Troy Olson is headlining at Elusive as Robert Denby with a terrific review on Bresson’s Les Dames Du Bois De Boulogne: http://troyolson.blogspot.com/2011/04/robert-bresson-les-dames-du-bois-de.html
Jon Lanthier has a new round-up of recent viewings, all-written with his incomparable insights and style at The Aspiring Sellout: http://aspiringsellout.com/2011/03/viewing-log-2/
Andrew Wyatt has a terrific review up on Sucker Punch at Gateway Cinephiles: http://gatewaycinephiles.com/2011/04/01/sucker-punch/
Kevin Olson’s exceptional review of the noir Force of Evil is still heading up at Hugo Stiglitz Makes Movies: http://kolson-kevinsblog.blogspot.com/2011/02/for-love-of-film-noir-blogathon-force.html
R.D. Finch has penned a terrific review of The King of Marvin Gardens at The Movie Projector: http://themovieprojector.blogspot.com/2011/04/king-of-marvin-gardens-1972.html
Pat Perry is heading up at the reinstated Doodad Kind of Town with some Oscar pieces: http://doodadkindoftown.blogspot.com/2011/02/oscar-winners-2011-and-great.html
T.S. at Screen Savour has some marvelous capsule reviews up for “Media Month” on some of cinema’s greatest features: http://www.screensavour.net/2011/03/media-month-february-2011.html
Matthew Lucas has penned a superlative essay on the Turkish Bal (Honey) at From the Front Row: http://fromthefrontrow.blogspot.com/2011/03/review-bal-honey.html
At The Cooler Jason Bellamy has an engaging (and challenging) post for movie lovers titled The Eyes of March: http://coolercinema.blogspot.com/2011/03/eyes-of-march-2011.html
At Cinema Styles Greg Ferrara has posted a loving remembrance of Elizabeth Taylor: http://cinemastyles.blogspot.com/2011/03/elizabeth-taylor-rest-in-peace.html
Jake Cole has a penned a superlative piece on the vampire movie remake Let Me In at Not Just Movies: http://armchairc.blogspot.com/
Daniel Getahun has posted the ‘Top Ten documentaries’ of 2010 at Getafilm. Looks like an essential for cineastes: http://getafilm.blogspot.com/2011/03/best-documentaries-of-2010.html
Drew McIntosh is heading up with five caps from an underrated Divivier gem from 1943 at The Blew Vial: http://thebluevial.blogspot.com/2011/03/flesh-and-fantasy-julien-duvivier-1943.html
Anu, at The Confidential Report has posted a spectacular Top 10 list that again shows why and how he’s an ultimate cineaste: –2010/http://theconfidentialreport.wordpress.com/2011/01/12/top-ten-of\
At Velvety Blackness, Jean has written a brilliant essay on the cult classic Underground: http://velvetyblackness.blogspot.com/2011/03/underground.html
At Visions of Non-Fiction, Dave Van Poppel has penned an intriguing essay on Clio Bernard’s The Arbor, that should be seen by all cineastes: http://visionsofnonfiction.blogspot.com/2011/03/arbor.html
Jeopardy Girl talks a bit about Chomet’s The Illusionist and some other things at her “FAQ” pst at The Continuing Story of Jeopardy Girl: http://jeopardygirl.wordpress.com/2011/03/13/some-faq/
And the esteemed Film Doctor has also taken on the multiplex feature with singular insights at his place: http://filmdr.blogspot.com/2011/03/baby-doll-and-steampunk-zombie-nazis-9.html
director Sydney Lumet
Michelle Williams in Kelly Reichert's "Meek's Cutoff"
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Writers/Founders
Wonders in the Dark 
Sam, it is always good to stop in and catch up at Wonders in the Dark. Thank you as always for your shout out. Sydney Lumet’s 12 ANGRY MEN is one of David’s favourite movies – mine too. Japan is still holding a spot in my daily thoughts as well. One of my photographs was requested for a sister city cherry blossom festival to raise relief funds. Its a small thing but something tangible I could do.
We only watched two movies this week both thrillers of an unusual nature. They were:
FAIR GAME (2010) directed by Doug Liman which being a former public servant I thoroughly enjoyed. Mind you I was just a regular public servant – not part of the CIA. I thought Naomi Watts and Sean Penn did an outstanding job in portraying the emotional context of this film.
EUROPA [aka Zentropa] (1991) directed by Lars von Trier was a fascinating viewing experience and structurally superb at creating the films tension using the railway. Loved the use of black and white with splashes of colour as well. An outstanding film for showing the power of simplicity when accompanied with the strength of structure.
I am working like crazy to finish up the last few paintings for my solo exhibit and so not much movie watching on the horizon for a few days. We shall see though. Something always seems to shift and make room for a couple of excellent films.
Best of the week to you Sam:)
And a great week to you too Terrill!
Well, I can well understand the need to commit your time to your painting, and I wish you great success with the solo exhibit! It’s true as of late that you’ve been fortunate to find some time for films, and have watched some great ones. I am with you on ZENTROPA, and am generally a big fan of Von Trier (DANCER IN THE DARK, BREAKING THE WAVES, DOGVILLE, MANDERLAY, ANTICHRIST) Excellent point there about the railway and the splashes of colour. I’ll agree that Penn and Watts gave strong performances in FAIR GAME!
I am with you and David on 12 ANGRY MEN, one of the true classics of the American cinema, and arguably Lumet’s finest film with NETWORK and THE PAWNBROKER as basically equal in greatness.
We all feel the same way about the spiralling events in Japan and our hearts go out to those in the danger zones.
Again my great friend, many thanks!
Hey Sam. I guess that Sidney Lumet had quite a decent innings before finally getting out, so it is hard to be as sad as hell. That said, it really was quite some career. I think that I will give my mention, though, to THE ICEMAN COMETH (1960), one of several fine stage-to-screen adaptations that he succeeded with. Jason Robards is simply fantastic in it as Hickey.
A 20-seat theatre – nuts! How do they keep going?! I have been to plays where there have only been a dozen or so people. However, there was always room for a few dozen more!
I would really like to hear Kelly Reichert interviewed. What is she like in person? With Michelle Williams back as well, I am highly interested in this one, despite your reservations about it!
Also, I saw Orson Welles’ CHIMES AT MIDNIGHT for the first time this week. That Battle of Shrewsbury scene really is fantastic – I had no idea it was coming. I really like “Henry IV Part I”, so this adaptation proved to be a bit too potted for my tastes. However, there are some fantastic moments in it still, especially in the early confrontations between Hal and Falstaff in the tavern.
Longman, what you say about Lumet is ultimately quite right. He did make it to 86, which is quite a long run by any barometer of measurement. Still, as you subsequently note, he enjoyed a fantastic career, with no less than four or five masterworks of the cinema. I applaud you for bringing some deserved attention to THE ICEMAN COMETH, a work that I was fortunate enough to once see on the stage. How right you are on Robards as Hickey!
The 20 seat theatre is admittedly bizarre, but in New York City there are so many of these off-beat locations on third floors of warehouses or office buildings, where these non-profit groups strut their stuff. This was admittedly though, one of the smallest I’ve ever seen, though I admire the fact that somehow the company survives. The place actually has a name – the “Spoon Theatre.” Ha!
I must say that Reichert isn’t exactly the warmest person I’ve seen moderating films (the polar opposite of someone like Tom McCarthy is was outgoing and animated two weeks ago) but she’s measured and professional. True to what you might expect from someone working on these kind of films, she has a masculine demeanor and dress code, but I don’t repeat don’t say that is any negative way, but just to describe her. She attracted many comments and an extended session, so good for her! I liked MEEK’S CUTOFF most of her three films, but yeah, it left me rather cold. I respect Peter and Jamie’s praise and/or anticipation, but I am more in line with Adam Zansie on this one.
Great framing there of CHIMES, one of the absolute greatest of all Shakespearean film adaptations!
Have a great week my very good friend!
Sidney Lumet was one of the most interesting directors ever; a versatile filmmaker who started out in the heyday of old Hollywood, yet was able to evolve with the times. His works from the Hollywood Renaissance of the 70s represent some of the greatest work in cinema’s history. While he might never get the due from others, I can say without a doubt that his greatest works are as powerful to me than just about any of the great works from Coppola, Scorsese, or Bogdanovich (and yes I know I’m in the minority saying that). It hurts even more when you think that he died during what some were looking at as a real comeback for the great filmmaker. With Find Me Guilty and Before the Devil Knows Your Dead, he showed not only that he was still a master of the gritty genre picks, but that he could also create work as fresh as any of the young hot shot filmmakers today. While consistency will be the one thing Lumet will get criticized on (and deservedly so when you consider how many misfires he made during the late 80s on to the 90s), his best work deserve to be mentioned with the all time greats. Check out TheConfidentalReport
this week for more of my thoughts on Lumet’s career as well as a review of the late director’s underrated masterpiece, Prince of the City.
Anu, I will be sure to check out THE CONFIDENTAL REPORT for your (impassioned) work on Lumet, and thank you exceedingly for all your treasured comments here. Well, I don’t really think you are in any serious minority by favorably comparing Lumet to those others at all. As Longman just mentioned above, Lumet’s career included not just masterworks, but sleepers that in hindsight have deserved far more exposure and respect. Yes he made misfires, but that’s inevitable in his long-running and prolific career. As I stated on these boards I thought THE PAWNBROKER was his masterpiece, but 12 ANGRY MEN, NETWORK, LONG DAY’S JOURNEY INTO NIGHT, FAIL-SAFE and DOG DAY AFERNOON are all exceptional films to varying degrees. BEFORE THE DEVIL KNOWS YOU’RE was indeed a great late-career resurrection. He was agiant for sure.
Thanks again my good friend for the high-octane contribution on this thread!
Sam,
Thanks again for the shout out. The death of Sidney Lumet was sad; he was one of New York’s finest filmmakers. My own favorites consists of THE PAWNBROKER, NETWORK, SERPICO, DOG DAY AFTERNOON and 12 ANGRY MEN. I will be paying tribute to Lumet later this week over at twenty four frames.
The Japanese people are still in my thoughts as the horror drags on (another aftershock hit them this morning). We have our own political horror here with our embarrassing Congress “going down to the wire” before reaching a compromise on the budget. One thing that really struck me was the greed of these so-called “representatives” of America is how they were so willing to not only cut off pay to “non-essential” Government workers but also to our military soldiers and their families who are sacrificing their lives while Congress would continued to get paid! Sad.
On the movie watching front I saw the following…
Win Win (****1/2) Can Paul Giamatti do any wrong, if so, I have yet to see it. I know you’re a big fan of this film having penned your own rave review. For me, here is a film that gives us an honest look at family; sweet, sad, funny and real. The characters come across as three dimensional beings. All are flawed but then aren’t we all? Cheers also to Amy Ryan whose performance matched Giamatti’s towering work.
Night Falls on Manhattan (***1/2) This just happened to be scheduled on broadcast on HBO very early Sunday morning the day after Lumet’s death was reported. There are some implausible moments, but overall a good solid intelligent police drama. The kind of film you would expect from Lumet. Nice performance from James Galdolfini as a cop gone bad.
Somebody Up There Likes Me (***1/2) I lost count of home many times I have seen this film. Robert Wise directed this decent tale on the life of middleweight champ Rocky Graziano. The film has a nice gritty Warner Brothers look to it especially in the early scenes of young Rocky in Little Italy. Paul Newman is all mumbles, hunched shouldered, foot shuffling bundle of inarticulate energy as Rocky.
Theodora Goes Wild (***) Small town girl lliving with her two Aunts leads a double life as a Sunday school teacher and organist while secreting writing bestselling “sexy” novels, one of which causes an uproar when the local town newspaper serializes it, much to the dismay of the self righteous local “literary society,” a group that consist of stuffy skirted elderly ladies, who want the so called “filthy” book banned. Fine performance by Irene Dunne who makes the film worth seeing. Average.
Father of the Bride (****) Watched this again yesterday as part of TCM’s tribute to Liz Taylor. A warm, charming story of a father’s trials and tribulations as he loses his daughter to marriage. The film can be seen as an ideal example of the 1950’s white picket fence suburban American family that would be popularized even more with the advent of television and the sit-com. Spencer Tracy steals the show as “Pops.”
John, when it comes to paying tributes to those beloved figures who have moved us over the years, there’s nobody in your category. So I will certainly be keeping an eye open at TWENTY FOUR FRAMES for your career retrospective, even if it’s a brief summary. Of course I couldn’t agree with you more, and have always considered THE PAWNBROKER, 12 ANGRY MEN and NETWORK among the greatest of American films. Lumet pulled some of the greatest performances from actors throughout his work as well, and his NYC shooting is as legendary as his critical reputation.
The situation is Japan is heartbreaking, while our political leaders are embrassing in every sense. You framed both disasters perfectly.
This is the first time in the history of John Greco submissions where teh star ratings you provide for your round-up perfectly match up with my own with the exception of a half-star on WIN WIN. (I gave it five) But who can argue with your own praise for it and your terrific analysis. Yes it’s a film about imperfect people, and Giamatti, Ryan and newcomer Schaffer are exraordinary. I think I like it best among McCarthy’s works.
As I said I’m dead on with you on the Lumet, Wise, Boleslawski and Minnelli. I know some other like the last one more, but I thought it’s charms were quite nice, though falling short of masterpiece level. The Rocky Graziano film is always entertaining indeed.
Many thanks again my excellent friend!
Sam, thanks so much for the wonderful mention. Like you, I continue to keep Japan at the forefront of my thoughts as the days unfold. I also was very saddened to hear the news of Sidney Lumet. He was a real gem, and the American cinema has lost one of its greatest artisans with his passing. I still have some gaps in his filmography, but my favorite Lumet at this point is probably 12 ANGRY MEN.
I’m curious to see MEEK’S CUTOFF. I’ve seen Reichardt’s previous two films and find her a filmmaker at least worth following as she moves forward.
This week I saw UN FLIC, ONE, TWO, THREE, FIRES ON THE PLAIN, EYES WITHOUT A FACE, IL GRIDO, Q & A, and RIDE LONESOME. I would have to say the one I preferred the most was the Melville. Watching it reminded how unique and cinematic his crime films are and how much I like the director’s work.
Here’s to another awesome week, Sam. Thanks so much for all that you do!
Hello Jeffrey and thanks as ever for you splendid submission on this thread. Your steadfast support here is appreciated beyond what I could express, especially in view of your own busy professional life.
Yes, it never appears that the crisis in Japan will subside, as every day there’s some new dire revelation. As our friend ‘Murderous Ink’ has just related (below) there’s so much to be concerned with. It’s seems incomprehensible that so much calamity can befall one people. This is one of modern history’s worst tragedies, but I well know this is no time for ‘comparisons.’
Again you watched some terrific films, and I fully respect your particular regard for UN FLIC, as I am a huge Melville fan myself. I guess I would lean to EYES WITHOUT A FACE and Ichikawa’s FIRES ON A PLAIN, but heck this is a loaded deck here, and everything comes up trumps! Ha! I found Fraju’s film haunting and often terrifying, and the Ichikawa rates right behind his masterpiece THE BURMESE HARP.
Reichert is a well-regarded filmmaker, and I suspect that her best is still yet to come. But the experience I had the other night seeing the film and hearing the director speak was quite memorable.
Thanks as always my great friend!
Sam, thank you for the mention, as always, and appreciate your continuing consideration about the state of affairs around here in Japan.
The shocking news about the contaminated water leaking into sea from destroyed Fukushima nuclear plant and subsequent release of “low-level” contaminated water into sea in unprecedented amounts must have raised serious concerns around the globe as to credibility of Japanese government and TEPCO policies. They do not provide enough information in comprehensible manner, are not forthcoming with the plan for upcoming actions and prospect, and seem to trying to save face even at this stage of the incredible event. And the elections for local offices and counsels were held yesterday, outcome of which was not what I had expected. For the governor of Tokyo, the incumbent candidate was elected by the large margin, who has been and still is the strong promoter of nuclear power plant. I do not know what to make of it.
I am finishing up the second part of digital media degradation and will follow it with a review on the documentary film I recently saw.
Very sad news about Sydney Lumet, who was one of the most versatile directors but still a keen observer. He could make a simple genre material into something relevant with times. I haven’t seen his “Equus” for many years, which I would like to revisit sometime in the near future.
Thanks.
MI
Murderous Ink, you are one of the most amazing people I’ve ever come in contact with, and my life is richer for this trasured acquaintance. Truth be said, everything I know about the diaster in your country has led me to all the worst kind of conclusions. Yet, as you are sitting right there in the middle of this precarious situation, I can look on your commentary as the most accurate and heartfelt. I know Tokyo hasn’t been directly affeced, but all these awful revelations about the radiation fallout and contaminated drinking water has to have everyone on edge. That you have been able to get on with your own life in view of these constant reminders of the possible disasters that lie ahead, is testament to your resilience and optimism. I am confident that in the end this horrible business will end, but I know we all asl “at what price”? I am rather amazing that those Tokyo official were given new terms of office myself. Strange. Perhaps people are frozen with teh idea that they must not change anything now, at this time. I’m not sure what I think. I would imagine some less committed people are probably re-locating either within Japan, or outside it’s borders. But I would think much of that can be avoided.
I will look on soon at VERMILLION AND ONE NIGHTS and look for the media restoration and documentary review.
Lumet was a great master, and I completely agree with what you say there about his being able to make genre material into something much more meaningful. That’s just about the best assessment of his work as I’ve read all week.
Please take care my friend. Many at this site and so many Americans are thinking about the difficult time in your great country. Thanks for coming here with this meaningful report. It’s means so much.
Hey Sam, thanks for the shout out. So sad about Lumet but he did leave behind a formidable legacy. Some of my fave films of his:
NETWORK
RUNNING ON EMPTY
Q&A
DOG DAY AFTERNOON
THE OFFENCE
I also love PRINCE OF THE CITY and NIGHT FALLS ON MANHATTAN – basically any of his films that dealt with police and political corruption!
Thanks so much for your always-valued contribution here J.D.!
Yes, Lumet was a titan of the cinema, and all the films you mention here are testament to his versatility and genius. Of your personal favorites there, I am most fond of NETWORK, but that’s a favorite of just about everyone. The ‘police and political corruption’ films were a specialty for Lumet, and nearly all received very good reviews, and enjoyed popularity with the public. I’d like to have a Lumet retrospective at my house soon.
Thanks again my very good friend!
Thanks Sam for the mention.
Yes, Sydney Lumet’s passing away is indeed a very sad news for all film lovers. An iconic American filmmaker renowned for his compelling & unflinching portrayals of life, he made some truly great films. Three of his films – 12 Angry Men, Dog Day Afternoon & Before the Devil Knows You’re Dead, rank among my favourites. In fact, if you remember, I’d placed Before the Devil knows… pretty high in my list of 100 best movies of the 2000’s. Unfortunately I haven’t seen his Network yet.
By the way, I’d posted my rough (un-ranked) list of best performances by an actor in a leading role under your post of the same – hoping to hear from you on that. And now that you’ve posted one of actresses, I’ll post mine too soon. Hoping that you post similar lists for supporting roles as well as I couldn’t include some of my favourite performances since I felt they couldn’t be counted as leading roles.
Take care.
Shubhajit: Thanks for the reminder on the comment on the Best Actor’s thread. I bet there are a few others as well that I failed to go back there to address. I will do so right after my response to you here in fact. I hope you will get a chance at NETWORK soon, as I am expecting a very big reaction from you on it. I have indeed noticed over the past 18 months or so that you have always valued Lumet, and have seen a few highly favorable capsules on some of his films. You have appraised Lumet quite excellently here, just as you did in the capsules.
I am planning to do the supporting performances sometime in the next two weeks or so. Thanks as always my friend for the great and much-valued comment here!
Sam, I’m hoping Meek’s Cutoff will get up here; every problematic review of its approach to classic western material only intrigues me more. This week I had to settle for Henry Levin’s The Lonely Man, which has some strong black-and-white cinematography and horse-chasing action but bends a bit too far backwards to make Jack Palance’s ex-outlaw sympathetic. Palance’s laconic performance is effective but allows Anthony Perkins to steal the movie as the hero’s sullen creep of a son. This film is so much about fathers and sons that I’m surprised that it hasn’t been remade lately.
I also saw Kongo, MGM’s talking remake of the Browning-Chaney West of Zanzibar with Walter Huston starring. It’s a racist fever dream of Africa that ought to be ranked, along with some other Africa-set stuff, among the defining horror films of the era. Seeing the first half-hour of Tarzan and His Mate at random over the weekend confirmed my belief. For sheer volume and velocity of cruelty, just that fragment of the film makes something like Cannibal Holocaust look like Land of the Lost.
I’d in dead agreement with you on MEEK’S CUTOFF, it seems all the negative reviews of it are because it isn’t reaching a preconceived notion (‘it lacks a climax’) of form, or genre.
It’s the greatest Western in a while, and with ASSASSINATION probably the best since UNFORGIVEN. Thinking about how well received TRUE GRIT was and MEEK not setting the world on fire I sort of think as you do, “only intrigues me more”. I’m thinking you’ll dig it quite a bit.
I remember you mentioning Meek’s Cutoff once Jamie. I will make an effort to see it soon. Don’t forget The Proposition in that greatest western mentions. The genre only infrequently rises to the surface anymore, but quality stuff still pops out every once in a while.
I like THE PROPOSITION, but I think it’s a head below the two I mention. Closer to something like RAVENOUS then UNFORGIVEN.
Actually scratch that, I’d add Jarmusch’s DEAD MAN into the upper echelon too. So three film’s at the top post-UNFORGIVEN (I swear if I keep thinking about it a few more will be added!).
I prefer True Grit to Assassination but on Meek’s Cutoff and Dead Man I’m in total agreement Jamie. I think 2010 (Meek’s Cutoff & True Grit) was the best year for the western since 1980 (Heaven’s Gate & The Long Riders).
Jamie, since I’d agree with you on AOJJBTCRF as the best western since Unforgiven I take your recommendation of Meek’s as a strong one.
Samuel, I’d say in large meaure the reviews for MEEK’S CUTOFF were quite favorable, as they were for OLD JOY and WENDY AND LUCY. There’s a strong regard for Reichert in the critical circles, and my role here is to ask “why”? It’s just as easy to find exhibitionist style and a lack of substance in her work as it is to find the kind of glowing enlightenment in stle and nuance that others find. I went in there wantly to love the film (bolsetered by Reichert’s appearance) but had the usual difficulties, while stil admiring the framing and the attention to every details. It’s a good film, but hardly a great one. I’m laughing at what you say there about ZANZIBAR’s “cruelty’ and the analogy of CANNIBAL HOLOCAUST! Ha! I kinda gree what you say there about THE LONELY MAN, which was still entertaining, but I haven’t seen ZANZIBAR to comment further. Good point about the eligibility of THE LONELY MAN as the subject of a remake.
Thanks again for the great round-up my very good friend!
“Jane Eyre” was exceptional Sam. Another one of your recommendations coming up trumps. Sorry to hear that “Meek’s Cutoff” wasn’t the great film that some are suggesting. I’ll wait for that to come to Montclair.
I see the Yankess are playing the win one, lose one game.
Thanks for stopping by David, and great to see you took in JANE EYRE and loved it! As I stated elsewhere on this thread I liked MEEK’S CUTOFF, but didn’t find it as anywhere near greatness. Some will find profundity in the nothingness, while others with find nothingness and nothingness. That’s always the way it goes. I’m in neither camp myself. (I’m a coward! Ha!)
Yeah, don’t expect anything from the Yankees this year.
Hello Sam and everyone! Thanks once more for featuring my humble Sidney Lumet photo piece. I tried to focus on characters. The funny thing is that I haven’t seen most of those, the only one is “12 Angry Men”, which I consider one of my favorite movies ever. I now wanna dwelve more into this director, which has many movies that I want to see.
You seemed to have a good weekend. That opera and play sound like fun. From the movies you saw, I want to check Hanna, if it ever opens here, sad to hear what you thought of it here.
My week was soooo tiring. Monday was quiet, but Tuesday I barely could have lunch, because I had many meetings for what I did wednesday, that tuesday I also spent with the girlfriend. Wednesday was HELL, as I was the director of an exercise, a TV-like filmed dance performance. My little knowledge of dance routines had me with my nerves broken at the switch, yelling at the cameramen, crying and listening to my teacher’s suggestions and cries of despair.
Thursday I had to deliver an essay on Japanese Literature. Friday things, kinda, calmed down. Saturday I went to the movies with my girlfriend, you’ll know which. Sunday, I went to the vinyard fest in Isla de Maipo, and I have to say that I expected more, specially for people that don’t drink, like me, having a bunch of stands handing out wine wasn’t the thing that I expected from the countryside.
So, my week, movie wise:
– AFRO SAMURAI (2007, Various Directors) **** This short anime (5 episodes) was just what I expected: lots of blood and mixture of technologies from different eras in a way that looked really appealing, but failed to build a world around. Worth watching if you have two hours to burn.
– THE EVICTORS (1979, Charles B. Pierce) **1/2 It was badly written and just barely acted, but it’s got a plus: the inventive way of using color/black and white scenes. Apart from that, just a dreadful movie with no appeal at all.
– RIO (2011, Carlos Saldanha) ***1/2 This was the one I saw with my girlfriend. This movie opened one week earlier in latinamerica, since the Ice Age movies have always had an enormous success in this areas. I found it too childish at times, specially with the song numbers, but still had some interesting characters. She liked it a bit more than I did, but she agreed that it could have been better.
– THE RITE (2011, Mikael Hafstrom) ***1/2 This wasn’t a scary movie, but it never was intended to be so, it just happened to have a bad campaign. Not the best exorcism movie, but still I was entertained during the later part of it.
– THREE KINGS (1999, David O. Russell) **** Inventive, quick, always changing, impressively well done, but ultimately not really awesome. It just barely reaches perfection, due to the use of sensibleries towards the end of the movie and the message of how soldiers act in certain conditions.
– A STORY OF FLOATING WEEDS (1934, Yasujiro Ozu) ****1/2 This was my Sam Flick Pick. You can read it at my blog, people.
– WE WERE ONCE A FAIRYTALE (2009, Spike Jonze) **** Weird short film that really surprises in their last minutes. Featuring Kanye West, it barely aprooves due to the splendid direction of Jonze.
Well Sam, hope you have a terrific week, I have to see the Sam Flick Pick now.
Just got back from EXODUS 8:2 Jaimie, and I read your splendid essay on Ken Russell’s THE DEVILS, which I link here:
http://exodus8-2.blogspot.com/2011/04/sams-flick-picks-15-devils-1971.html
Looks like you had a hectic week with school, the dancing (ha!) and teh essay on Japanese literature, but at least you got to spend some more quality time with the girlfriend. That vineyard trip was most interesting, even though you are not a drinker. I’m with you on that count, and through my life had never drank alcohol, though in recent years I’ve have a glass of red wine on occasion for it’s health values. But in my mind I can envision your countryside trip.
Well, you saw one of the truly great Lumets there with 12 ANGRY MEN, and I’m not at all surprised it’s one of your favorites. It’s one of those films that pays off with repeated viewings, and it has that built in hook of the numbers changing with each new revelation. I once used that Reginald Rose play it was based on when I was a student teacher in the 9th grade in Emerson High School in Union City. Interestingly enough Jaime, just about every kid in that class (about 14-15) were Hispanic. And they were fantastic, maybe teh best class I ever had! We read and acted out 12 ANGRY MEN and TO KILL A MOCKINGBIRD that year and I used both film to follow up.
Great round-up of films once again! You are truly tireless! You may well like HANA, but we’ll see. I went in hoping to like it (Joe Wright is director after all) but I found it uneven. The proof will be in the pudding for you. I haven’t seen:
The Rite
We Were Once a Fairytale
Afro Samurai
Rio
…but I appreciate the great and perceptive capsule assessments. Of the others, I like the Ozu most, and only think less than you do of THREE KINGS. But the other summary judgements are dead-on as far as I’m concerned.
As always your contribution to this thread is peerless my friend! have a great week!
Lumet was one of the greatest directors for evoking sterling performances from actors – Steiger in ‘The Pawnbroker,’ Fonda in ’12 Angry Men,’ Pacino in ‘Dog Day Afternoon,’ Dunaway in “Network,’ Newman in ‘The Verdict’ and so on and so on. So long, Sidney.
Portmania and Francophilia
Some thoughts on ‘Your Highness’ (and ‘Arthur’)
“The world is too much with us”
If anyone’s feeling a little Wordsworth Weltschmerz these dark days – radioactive leaks, government shut-downs, rising energy costs, slaughter in the Middle East – then get thee to the nearest cinema, plunk yourself down, step back in time and surrender to the silliness of ‘Your Highness,” a raunchy little spoof about dimwits and stoners on a quest during the Middle Ages.
It’s curious that ‘Your Highness’ and the remake of ‘Arthur’ (I can’t believe I just wrote that. A remake of ‘Arthur’? Really??) are released on the same day since both depend on substance abuse for their risibility. I haven’t seen ‘Arthur’ (life is short, time is precious) and probably won’t (adjusting for inflation M. Arthur is now a billionaire), but I wonder how today, with the tyranny of political correctness, one can make a comedy about a lovable lush who drinks discreetly? Can anyone imagine a funny, sober W.C. Fields? Or a martini-less Nick and Nora Charles? Tippling can be a great springboard for anarchic hijinks, an entree into a world of surrealism. Or delirium tremens. Ray Milland’s hallucinations are the best thing about ‘The Lost Weekend’ and they’re faintly, inadvertently funny, too.
So I’ll avoid a tamed Arthur and focus on “Your Highness,’ which eschews hootch for a pot high that induces a Chaucerian wallow in low comedy. The film is chockablock with bad taste and special effects, a resplendent repast of medieval and mythological barbarities — a decapitated Cyclops, a Minotaur’s severed penis (later worn around the neck as a talisman), an Iggy Pop lookalike eviscerated on a spear, a full-frontal nude eunuch (gasps and giggles from the audience), buggery, beheadings, dwarfs, dismemberment — a sanguinary display that even Alexander Jodorowsky (“El Topo”) might have found excessive. And yet the onslaught of crudity is occasionally very funny (if one throws enough smut against the screen something is bound to stick).
‘Your Highness’ is over-the-top make-believe right down to the turning pages of a great antique storybook, with Cocteau’s Open Sesame, ‘Once Upon a Time,’ replaced by ‘You Ain’t Gonna Believe This Shit.”
The storyline mocks the classic chivalric tradition, something about a romantic, heroic quest and the overthrow of evil, with sibling rivalry, or ribaldry, tossed in. Allusions are scattershot and plentiful – the Arthurian legend, ‘300’, Monty Python, a Mel Brooks parody without the borscht shtick, ‘The Princess Bride,’ SNL skittery, ‘A Connecticut Yankee in King Arthur’s Court,’ with Twain scribbling away with a doobie stuck in his piehole — and the F-bomb rains down like medieval weaponry.
But the coup de grace is Natalie Portman wearing an ironclad chastity belt. Yes, the divine Miss Portman, the delicate diva of ‘Black Swan,’ the A-list beauty and fine actress, cursing like a sailor, busting heads, shooting arrows with bloody precision, dispatching hydra-headed monsters to the underworld and sporting that chastity belt, which she graciously reveals to us girdling her golden loins. And that versatile actor James Franco is on hand to perform his goofy, fake serious stoner bit (he’s the best since Sean Penn’s Jeff Spicoli in ‘Fast Times at Ridgemont High,’ the gold standard for the chemically brain-addled).
But it’s Miss Portman who rides off with the whole farrago, ravishing even after a knock-down, drag-out with what looks like Satan and the three crones from ‘Macbeth.’ Can anyone recall Moammar Khaddafy when the deep-bodiced Portman is up there to be gazed upon?
Undignified by a star rating, but if you like Portman or Franco, go!!!
“Your Highness’ is over-the-top make-believe right down to the turning pages of a great antique storybook, with Cocteau’s Open Sesame, ‘Once Upon a Time,’ replaced by ‘You Ain’t Gonna Believe This Shit.”
Geez, Mark that’s hysterical as is what you come up with next! Ha! I actually considered seeing the film this evening after work in progress print I saw of Bennett Miller’s Brad Pitt baseball starrer “Mopneyball” also featuring Jonah Hill. The reviews were bad on YOUR HIGHNESS, but as of late I have been in disagreement with some summary assessments. I love the anything goes way you frame it, and you may have sold me on a viewing at my local multiplex. You say quite a mouthful here:
“The storyline mocks the classic chivalric tradition, something about a romantic, heroic quest and the overthrow of evil, with sibling rivalry, or ribaldry, tossed in. Allusions are scattershot and plentiful – the Arthurian legend, ’300′, Monty Python, a Mel Brooks parody without the borscht shtick, ‘The Princess Bride,’ SNL skittery, ‘A Connecticut Yankee in King Arthur’s Court,’ with Twain scribbling away with a doobie stuck in his piehole — and the F-bomb rains down like medieval weaponry…”
Certainly that melting pot is more than an intrigue and what with Franco and Portman on board, well, the proof will be in the pudding.
Your point about Lumet always getting great performances is sound, and one I have always perceived as well. Your choices too are dead-on from where I am sitting!
Many thanks four your super-imaginative submission here Mark!
Thanks for the comment, Sam.
I wouldn’t take the kids to see this if I were you…it’s pretty gross. No Divine, no Mink Stole, no Edith Massey, none of the inspired dementia of John Waters, but I laughed (and groaned) a few times and then forgot it soon after leaving the theater. What are good actors like Portman and Franco doing in this muck? That’s the most interesting aspect of “Your Highness” and I think it says a lot about the creative bankruptcy of Hollywood these days. And Helen Mirren in “Arthur”!!!!!!! I certainly hope she was well paid.
By the way, I just watched Penn and Franco in “Milk” last night (edited for content I’m sure). I don’t understand how Van Sant could have made such a dull film out of such a colorful, interesting character. Very disappointing.
I was saddened to here of the passing of Sidney Lumet as well.
His films were benchmarks in the genre of true-life dramas and his keen eye for the gritty reality of life was inspiring.
However, after THE PAWNBROKER, I have to say I always felt his best film was his most surreal. Sure, I loved movies like 12 ANGRY MEN and the raw energy of films like DOG DAY AFTERNOON are to marvel at…
But, I don’t know….
I just happen to think that, aided by Paddy Chayefsky’s greatest and most acidic script, Lumet really pulled out the sociological and comic stops with NETWORK.
I saw NETWORK only a few weeks back, during TCM’s 30 DAYS OF OSCAR marathon, and the films still works as a prophetic road sign. From the fantasy like sets, brisk pacing, bizarre camera angles and quadruple career best performances by Faye Dunaway, Peter Finch, William Holden and Ned Beatty, I don’t think it’s even a contest which film will take the No. 1 position in my list of Sidney’s best films.
He will be sorrily missed…
😦
Thanks again Dennis for the great comment. Well, as I discussed with you by email it’s tough to assess Lumet’s output numerically. While my personal favorite is THE PAWNBROKER (that last scene when a devastated Steiger leans on the sidewalk over his slain worker in a sudden burst of humanity remains one of those moments that are impossible to describe) I give just about equal credit to 12 ANGRY MEN and NETWORK, while others like DOG DAY AFTERNOON, LONG DAY’S JOURNEY INTO NIGHT and MURDER ON THE ORIENT EXPRESS are well-liked. You frame him work beautifully here!
When I saw Meek’s Cutoff at Sundance, my reaction was largely the same as yours: fantastic setting, and a dead-on description of what exactly it means to be lost in the wilderness, but… is it a movie? It lacks a climax. It lacks a significant turning point. The moment when their bandwagon is destroyed has some meaning to it, but not enough to carry the weight of the picture. The conflict between the party and the Native American is in many respects the core of the film, but it is resolved a little too unclearly–somehow that ambiguous ending fails to satisfy.
Now, unfortunately, I saw the film during a midnight screening on my last night at the festival, and by that point Reichardt was no longer at Sundance. This disappointed me because I wish there could have been a Q & A, as I would have liked to have asked her more about the film’s more uncertain elements. I can’t shake this feeling I have that the film’s ambiguity is more a sign of hasty post-production than of artistic intent.
At any rate, I did admire the film’s eerie portrayal of isolation– much more so, apparently, than the audience around me, which absolutely loathed the film. Several people walked out. And I could hear immense groans when the movie suddenly drops off at the end like that. I suppose the negative reaction wasn’t entirely unwelcome; the movie suffers from an overload of somewhat meaningless ambiguity, not to mention a climax that simply doesn’t exist–and I would only expect a more educated audience member such as myself (if you’ll forgive the immodesty, hehe) to have patience with such material. So, I doubt the movie will be commercially successful. Still, it was thought-provoking.
Adam I just read and commented under your spectacular review of JONATHAN LIVINGSTON SAGULL at ICEBOX MOVIES. I love your style, and your undying loyalty to films that mean something to you, that speak to you and critics be damned. I have always felt that way myself, and mounted a similar defense of Zefirelli’s BROTHER SUN SISTER MOON last year at the site.
Anyway for others who may be reading here, I offer a link to Adam’s great review:
http://iceboxmovies.blogspot.com/2011/04/toerific-jonathan-livingston-seagull.html
Your position on MEEK’S CUTTOFF is brilliantly posed and articulated, and I can’t say I diagree with any of it. What Reichert accomplished in nuance, mood and a sense of ambiguity was in good measure mitigated by an oppressively empty plot, lack of a climax, and a general disregard for story mechanics in favor of an acute attention to details that in and of themselves fail to engage. I am most interested to hear your views, especially since you saw it at Sundance. Those reactions by some do not surprise be, hence. Like you I think there’s much to ravish in, but I’ve yet to see Reichert produce a great film.
Thanks so much Adam for the impassioned contribution here!
I just saw MEEK’S last night on the big screen, and the ‘lack of turning point’ certainly confuses me as a critique. It has several– easily the capturing of the Native American (then deciding to use his survival instincts) the most glaring. Jon and I walked out in a daze (partially that is was a 9:55 pm showing on a wednesday night spilling us into a desolate street at about midnight), I’m still thinking about how to exactly state my opinions (it was my second time seeing the film), but I think it’s a masterpiece and an intellectual/philosophical/craft step forward for Reichardt. It would make an interesting double bill with her WENDY AND LUCY, showing just how auteuristic she is. She’s one to now place with Claire Denis, and Catherine Breillat as the great female directors. Has there even been a time that you can argue that 3 women reside in the top 5 of greatest working directors in the world? Fantastic.
almost forgot: RIP Sidney Lumet.
Aye, Adam, indeed.
Hi Sam!
Thanks for the mention!
I agree with your issues with Meek’s Cutoff. I believe you read my review of it around the time I saw it at the Toronto Film Fest. Like you said, nothing happens. I understand that that was the point, but even in other films when “nothing” happens, you feel like it serves an underlying purpose. Here, it almost felt too deliberate and meaningless. But, unlike you, I am a huge fan of both Old Joy and Wendy and Lucy, where not much happens, but yet so much does.
This weekend I watched a few films from the past, including the goofy “The Burbs” and “Revenge of the Nerds”. The Burbs was good fun and I quite enjoyed it. Revenge of the Nerds was predictably terrible, but kind of fun to watch. I also saw Gaslight for the first time, and pretty much fell in love with it. What a creepy, suspenseful and unnerving film. It really got to me at times.
Hope all is well!
All is indeed well my friend, thanks for the wishes and the great comment!
Well, I do remember your great review (in fact it’s the one review of the film I did remember, and it was written months again as you note) and I must say we seem to be in full agreement. (Adam Zansie feels the same way as well) It’s often an excrutiating film to watch, but it’s visual richness often makes you forget this is really a film with little narrative substance and a dearth of philosophical depth. I know I’m in the minority with OLD JOY, and generally I liked WENDY AND LUCY.
I don’t remember BURBS, but REVENGE was pretty much what you say there. I haven’t seen it in a while though!
Thanks my friend for the great comment and have a terrific week!
Hey Sam, I got to Hanna and Jane Eyre this week. I haven’t really liked any of Joe Wright’s films so far and Hanna didn’t convince me either. I definitely preferred Jane Eyre, although I didn’t think it was particularly remarkable. But everyone did a good job, and the story is innately moving, though the best adaptation of Bronte’s novel remains I Walked With a Zombie. I thought Meek’s Cutoff was an incredible film when I saw it last fall, and while it’s hard to talk about a film when you’ve only seen it once and six months ago, I don’t think it’s true that nothing happens in it. I think because so many critics are discussing it as a “revisionist western” its relationship to classical westerns is really lost. Although it’s true in some sense that less events occur in it than in The Naked Spur, I remember thinking after I saw it that Reichardt was dealing, just as Mann was, with the shifting relationships of members in a group in a very old fashioned way (something her employment of the academy ratio also emphasizes). Again, it’s hard to write about (I hope I get to see it again on the big screen), but I would really encourage you to see it again if possible and think of it more as an extension of what directors like Mann and Boetticher were doing rather than a radical and revolutionary anti-western, which it most certainly is not.
Peter, it’s always an honor to have you stop by, especially when the discussion shifts to westerns. But your appreciation for cinema as a whole is not to be confused with your affinity for the westerns. I hear exactly what you are saying about MEEK’S CUTOFF, and you’ve explained it’s essense (“shifting relationships”) as well as anyone. I do need to see this particular film a second time–this is an irrefutable point–and having Reichert speak AFTER the film, only enhances that conviction. Of the recent western films discussed on this thread my absolute favorite is THE ASSASSINATION OF JAMIE JAMES. I love your comparison here to Mann, and can’t argue with your contention that I WALKED WITH A ZOMBIE is really and ironically the best filmed “Jane Eyre.” You may recall how much I adore that film myself. But this new JANE EYRE is really something, and I’m thrilled to hear you liked it quite a bit. And yes, we are in a “negative” agreement on HANNA.
Thanks so much for the great comment my friend!
Another awesome week for you Sam. Sad to hear about Lumet. My five favorites by the director are Serpico, Dog Day Afternoon, 12 Angry Men, Before The Devil Knows Your Dead, and Murder On The Orient Express.
Great choices there Maurizio! And nice you mention MURDER ON THE ORIENT EXPRESS. Allan is no fan of it (nor of Finney’s performance) but I’m fully with you and would place it in Lumet’s top half dozen or so.
Thanks as always my very good friend!
Sam, while I can understand your feelings towards Insidious (which I still enjoyed slightly) – I think you might’ve missed something and are off the mark on Hanna. It’s the most “interesting” and unexpectedly strange mainstream film I’ve seen in a long time.
http://theschleicherspin.com/2011/04/10/shooting-circles-around-the-heart-of-joe-wrights-hanna/
RIP Sidney Lumet. Makes me want to watch Network on an endless loop.
Hey David! Well I will definitely check out your essay on it ASAP. It appears that the majority are with you on the film. I thought the film emplyed a clever idea, but Wright (whom I praised to high heaven for ATONEMENT) seemed to present his case with little subtlety. That’s how I reacted, but I’ll see it again down the road.
Ah, NETWORK over and over. Better even than entering the gates.
Many thanks as always my very good friend!
Thanks for the mention Sam. My introduction with Lumet was via 12 Angry Men. I was quite young when I saw 12 Angry Men and I believe it was the first film I saw which showed in detail what a jury did, so it made a lasting impression on me. Although I came to that film indirectly via an Indian remake Ek Ruka Hua Faisla directed by Basu Chatterjee, a film that I only saw in fragments but the story left enough of an impression that I had to find the original source.
Also, I quite love Network which I only saw 6 years ago and felt how it was completely relevant even in this day and age. Dog Day Afternoon is also etched in my memory. I never thought that Before the Devil knows You are Dead would be his last film. In that regard, Before the Devil.. is the only film of his which I saw in a movie theater.
Many thanks Sachin! That’s interesting that you came upon 12 ANGRY MEN through the re-make. Like you I can say this was the very first film that drew me to courtroom pictures, an eventual obsession that had me watching PERRY MASON for many years in my youth. For me it remains (with THE PAWNBROKER) Lumet’s most compelling work, but I couldn’t agree with you more on NETWORK, which is a personal favorite. I’m sure there are many Sachin, who would say the same about BEFORE THE DEVIL as far as the movie theatre exposure. Lumet was one of the greatest of the moder American directors, no doubt about that.
Thanks again my very good friend!
Robert Osborne showed D.W. Griffith’s “The Birth of a Nation” last night on TCM and here, for what they’re worth, are some fragments of notes I made.
— Griffith, who owed so much to Dickens and the fever pitches of Victorian melodrama
— Griffith, who invented the film — close-ups, fade-outs, etc. — as we know it today
— Gish, as supernaturally beautiful as ever
— A silent film that creates the illusion of thunderous tumult
— The best Civil War drama I know. Margaret Mitchell, Vivien Leigh, Clark Gable look to thy laurels
— So many electrifying scenes – Lincoln’s assassination; the ride of the Klansmen; the girl, the squirrel and the black man’s mad proposal
— A unique paradox in film history – you loathe what you’re seeing AT THE SAME TIME you are devastated by the brilliance with which it is shown
— Griffith has made the oxymoron to end them all, a racist masterpiece
Stunning, reprehensible, unforgettable. Griffith was the director who influenced the great Russians, Eisenstein and Pudovkin.
A flawed genius whose importance can’t be overstated.
Hi! Sam Juliano, Allan and WitD readers…
Sam Juliano said,”Again our thoughts are with Murderous Ink and the Japanese people during the continuing time of crisis in the far east.”
Once again, I agree with you wholeheartedly, you know what is really frighting is that nuclear leak…I keep hearing about the very sad condition(s) in Japan on International news and in full details every day…very frighting stuff!
Sam Juliano, Unfortunately, I can’t name a favorite [Sidney] Lumet film…Because I only watched “The Twelve Angry Men” twice and believe me that wasn’t planned.
I think that it came on after another film that I was watching on TCM…Oh! well, this is soooo embarrassing 😳 I didn’t even know that he directed the film “The Twelve Angry Men”… Or I completely forgot that he directed the film.
Now, let me take a look at your weekly round-up…in the theater you watched Meek’s Cutoff *** 1/2 sounds like the Winner! with Hanna ** 1/2 coming in second “place” and Insidious * just “showed” up in third place.
Sam Juliano said,”The jarring shocks eventually wore thin, though my sons Danny and Jeremy loved it…”
LOL!
Sam said,”Rossini’s rarely-performed middle-career opera Le Comte Ory, was broadcast on movie screens in HD worldwide on Saturday afternoon at 1:00 P.M. I traveled to Secaucus to watch and listen to this utterly delightfully spirited piece, often referred to as an ‘opera comique,’ one widely considered a difficult bel canto work to find the right singers for. I hope to have a full review up soon…”
Sam Juliano, I will be on the look-out for your review…Of the comedic opera.
I have only one film that I plan to watch and it’s the just recently released “Brit” classic entitled “Candlelight in Algeria” starring actor James Mason.
Thanks, for the mention and the links to our fellow bloggers’ blogs too!
DeeDee 😉
Wow Dee Dee you have never seen Serpico or Dog Day Afternoon? You need to see those pronto…
I’d love to hear about that James Mason film when you get to it Dee Dee! (CANDLELIGHT IN ALGERIA)
Well, what you say there is right on. I may not have loved MEEK’S CUTOFF as much as some others here, but it’s the clear winner of the three films I saw in theatres this week, while INSIDIOUS is a clunker. Thanks so much for highlighting that exerpt on Rossini’s comic opera and for the kind words about a possible appearance at the site of a full review. I hope to make good on this.
By seeing 12 ANGRY MEN (twice no less) you have watched a film that many consider Lumet’s best. As I’ve discussed on this thread it holds up beautifully to repeat viewings, and I’m sure your second viewing was as good as the first.
As always thanks for the excellent submission on this weekly thread my most excellent friend!
And of course Dee Dee, the situation in Japan continues to alarm, move and sober us all.
Hi! Maurizio Roca…
I just signed-up with Netflix…(Well, actually a couple Of days ago…) (Right-now I’am in the trial-period phase)
Therefore, I can easily see myself adding those two (Sidney) Lumet films (and some Of his other films) to my queue. Thanks, for the heads-up!
DeeDee 😉
Maurizio Roca…
It appears that I want have to wait for his (Lumet) films in my queue …Because TCM plans to pay tribute to Director Sidney Lumet, on April 21, 2011…I just posted the information or details on WitD sidebar.
Great and impassioned work on the side-bar Dee Dee!
Hi! Sam Juliano…
Thank-you, so much for the compliment too!
DeeDee 😉
Thanks very much for the plug, Sam, and sorry to be slow in getting to this thread. The main movie event for me this week was that I saw William Wellman’s silent classic ‘Beggars of Life’, starring Louise Brooks, on the big screen at the BFI in London. It was accompanied by a live band whose music included a song written for the original soundtrack, also entitled ‘Beggars of Life’ (Wallace Beery sang it originally, though his rendition has been lost!) It was great to see this film in a good print rather than the dreadful one I have on DVD, though sadly the colour tintings to show night and day weren’t present in this version.
Apart from that, this week I watched Ophuls’ ‘Sans Lendemain’ (1940), reviewed recently here by Allan, which is a masterpiece, with an astonishing performance by Edwige Feuillère as a woman who has lost all hope. I also saw a fairly dreadful Errol Flynn Western, ‘Montana’ (1950), which features a horrendous scene of him singing along with Alexis Smith, and a rather disappointing Wellman movie, ‘Lady of Burlesque’ (1943) starring Barbara Stanwyck – in this one, by contrast, the singing is the best part.
On Lumet, my favourites out of those I’ve seen by him are ‘Serpico’ and ‘The Verdict’, and I also remember liking ‘The Group’ though it is a very long time since I’ve seen that one. Thanks again, Sam!
God Judy I’m jealous, I love ‘Beggars of Life’ and I’ve only seen that foggy bootleg that you refer to. I did research on it a few months back and found that a new print was found and being beautifully restored in upstate NY… there’s hope that that print will lead to a sparkling new dvd of the film. But I haven’t heard a thing about it since then, but I haven’t looked for any news about it since then though, so who knows.
But on the bigscreen? man, I’d watch any print of it.
Thanks, Jamie – hope you get to see it in your neck of the woods before too long, and fingers crossed that new DVD transpires too! This print was said at the start to be from George Eastman House, with preservation funded by the Film Foundation – so sounds as if it is probably the one you had heard about, Jamie? I know the movie was shown a year ago at a film festival in Leicester, also with the live band.
Yeah, the Eastman house was indeed the one. They gotta secure a dvd deal on that.
Many thanks Judy. I echo what Jamie says about “Beggard of Life” and that’s of course the best/ultimate way to see it. The print we have here is not a good one unfortunately. The live band accompaniment is utterly fantastic, and it enhances the experience ten-fold! The Ophuls is certainly a masterpiece, while that Flynn is rightly dismissed, but I’m sorry to hear of that rare disappointing Wellman. (even with teh great Barbara Stanwyck aboard!) The Lumets you choose of course are mighty ones, and I can’t thank you enough for the large volume of comments you have made at this site and the time you’ve invested here. And your own form of tireless commitment to the arts is most remarkable!
Sorry for being so late, Sam, and thanks for the plug. I look forward to seeing MEEK’S CUTOFF. THanks.
I saw Terence Davies’ films last week. I liked all of them, but THE LONG DAY CLOSES just blew me away. A masterpiece of a film that only Davies could make, but also, unfortunately, the only film that Davies could make.
Cheers!
Srikanth, you are NEVER late!!! I am a huge fan of THE LONG DAY CLOSES, which Allan placed as the #2 film of its decade. But beyond, it’s a haunting and elegiac tone poem, and one of the most moving films I’ve ever seen. It’s Davies’ supreme masterpiece and I’m thrilled at your own reaction.
I’m definitely curious to know what you’ll think of MEEK’S CUTOFF. Tomorrow I will be seeing two films that I’m sure are right up your alley my friend. One is this Tavenier:
http://www.ifccenter.com/films/the-princess-of-montpensier/
and the other is an Italian film titled LE QUATTRO VOLTE.
Thanks as always my very good friend!
Argh!!! THE FOUR TIMES is one of the two or three 2010 films I most wanted to see. Glad you could make it to the screening, Sam.
Oh, I forgot to add. I saw the new MILDRED PIERCE as well. It’s swell, but no masterpiece.
Cheers!
Srikanth, I am patiently waiting for MILDRED PIERCE to come out on DVD, and then I’ll watch the entire affair at once. I do understand where you are coming from here, and will well remember it when I do eventually get to it. Thanks again!