Maurizio Roca’s “Film Noir Countdown,” W.C. Fields’ Festival, Stage Play “Angels in America Part 2,” and Tribeca Festival on Monday Morning Diary (April 25)

April 25, 2011 by wondersinthedark

by Sam Juliano

April showers bring May flowers. Well that timeworn adage is certainly applicable for the those residing in the Northeast, as the wet stuff has been hindering activities, even while the temperatures remain pleasingly moderate. Here at Wonders in the Dark, the tireless young Brooklynite Mauricio Roca is nearing the completion of his remarkable 10 week project on the film noir genre, a venture that has attracted consistently excellent site traffic, loads of comments and the good will of a number of newbies who are big genre fans. Roca’s fair-mindedness, good selection and placement sense, and impressive writing skills have combined to make for a highly entertaining and scholarly examination of the greatest films in the film noir pantheon falling in the specified time window of 1941 to 1958. It’s been a great ride, and one of the site’s proudest moments for sure. This coming week, readers will learn what Roca proposes as the Top 4 noirs of all-time, and many of us are dying from the suspense.

The Tribeca Film Festival has officially launched, and Lucille and I were there on opening night (Saturday, April 23 at 9:00 P.M.) to take in the French thriller Point Blank (‘A Bout Portant’) at the AMC Loews Village 7. The taut thriller was overipe with deceptions, chases and narrow escapes, but it manages to rivet for most of it’s running time. Sure we’ve seen some of this before, and aside from one prety potent shock, it follows a predictable path. Still, a propulsive and entertaining ride.

On Easter Sunday at 5:30 P.M. Broadway Bob and I watched another Tribeca offering, the Chilean drama The Last Round, another film with some admirable qualities (striking on location cinematography in and around Santiago, and a rather intricate study of the unlikely relationship) but there are cliches and the film offers nothing new in its examination of its central gay theme. I have six (6) more Tribeca films scheduled to see every day this week from Monday night through Saturday.

I am perplexed at some of the strong critical praise for the African film A Screaming Man, seen at the Film Forum on Friday night. In place of poetry the slow moving film exhibits empty space and an incomplete study of the inability of one to control his fate or environment. It’s minimalism in it’s worst interpretation, and although the central theme of the film is universal, it never takes on the telling urgency it would need to resonate. It’s the first film from Chad I remember seeing, and it was a hit at Cannes last year.

Getting the chance to hear Dr. Harriet Fields and Ronald Fields (grandchildren of iconic film clown W. C. Fields) speak at the Film Forum for the Fields Festival’s opening night was a special treat, but nothing could match watching the comic’s greatest film It’s A Gift and the splendid The Man on the Flying Trapeze, the latter by any barometer of measurement one of the greatest Fields features. I was thrilled that my 13 year-old Sammy, and 11 year-old Danny were laughing throughout. I also managed a Sunday afternoon screening of David Copperfield, another Fields classic that remains one of the finest Dickens adaptations, but was unable to watch the Fields Alice in Wonderland because of the Tribeca commitment.

A Screaming Man *** (Thursday night) Film Forum
Point Blank *** 1/2 (Saturday night) Tribeca at Loews Village 7)
The Last Round *** (Sunday night) Tribeca at Chelsea Cinemas
It’s A Gift (1934) ***** (Friday night) Fields at Film Forum
The Man on the Flying Trapeze **** 1/2 (1935) (Friday) Fields at Film Forum
David Copperfield **** 1/2 (1935) (Sunday) Fields at Film Forum

The week’s one stage play was a marathon second part of Angels in America: A Gay Fantasia on National Themes at the Peter Norton Space on 42nd Street. The play by Tony Kushner, is set in the 1980s against a backdrop of greed, conservatism, sexual politics, and the discovery of an awful new disease: AIDS. Both a love story and a political drama, the story centers around a group of separate, but inextricably connected individuals whose relationships are disintegrating as the AIDS crisis starts to grab hold. Kushner’s dark, cynical humor captures the fragility of the human condition and his prophetic and sublime words pierce the heart and move you to tears. Even with a high regard for the television mini-series with Al Pacino and Meryl Streep from 2002, the staging, performances and brisk pace of this long production made for a most memorable Tuesday evening. The second part ran over four hours, but like Part 1 was wholly riveting and immersive. Again the dazzling stage work and lighting enhanced the experience greatly.

Here’s the great stuff out there:

At Movie Classics Judy Geater has penned a superlative review of a little-known 1926 John Barrymore silent titled The Sea Beast: http://movieclassics.wordpress.com/2011/04/24/the-sea-beast-millard-webb-1926/

John Greco has a terrific review heading up at Twenty Four Frames on Billy Wilder’s The Major and the Minor: http://twentyfourframes.wordpress.com/2011/04/23/the-major-and-the-minor-1942-billy-wilder/

Just Another Film Buff (Srikanth) has a staggering post up on The Owl’s Legacy by Chris Marker at The Seventh Art, which simply must be seen!!!: http://theseventhart.info/2011/04/23/publicizing-the-legacy/

Jaime Grijalba offers up some timeless humor for Holy Week with 1982’s Life of Brian at Exodus 8:2: http://exodus8-2.blogspot.com/2011/04/la-pelicula-ver.html

Tony d’Ambra has published his poetry in a paperback volume, available here for a discounted price. This great work is also available to download. WitD is proud of this publishing event and congratulations to Tony: https://www.lulu.com/commerce/index.php?fBuyContent=10534204

Our inspiring friend in Tokyo, Murderous Ink, is back on the blogging scene, and he’s engaged in a very fascinating topic about film degradation, presented at Vermillion and One Nights in two parts: http://vermillionandonenights.blogspot.com/2011/04/issue-of-degradation-part-2.html

Terrill Welch is leading up at the Creative potager blog with a post titled ‘Be Patient,’ which features a ravishing slideshow on her new work, referred to here as a ‘Study in Blue’: http://creativepotager.wordpress.com/2011/04/21/be-patient/

At Scribbles and Ramblings Sachin has penned a terrific piece on “A Double Dose of Gaspar Noe”: http://likhna.blogspot.com/2011/04/double-dose-of-gaspar-noe.html

At Speaking from the Heart Laurie Buchanan is on her way back from a witer’s institute seminar in Madison, Wisconsin: http://holessence.wordpress.com/2011/04/14/write-on-part-2/

Jason Marshall issues a less-than-complimentary view of Redford’s The Conspirator at Movies Over Matter: http://moviesovermatter.com/2011/04/21/robert-redfords-the-conspirator/

Ed Howard’s miraculous run at Only the Cinema continues with an outstanding review of Francois Truffaut’s Love on the Run: http://seul-le-cinema.blogspot.com/2011/04/love-on-run.html

One of the most truly ecclectic of all bloggers, Samuel Wilson has penned a superlative essay on Jacques Rivette’s 2009 Around a Small Mountain at Mondo 70: http://mondo70.blogspot.com/2011/04/around-small-mountain-36-vues-du-pic-st.html

At Living in Cinema Craig Kennedy has penned an exceptional review of Water For Elephants: http://livingincinema.com/2011/04/24/review-water-for-elephants-2011-12/

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 has referenced some of the great music he’s been listening as of late, and he offers up some awesome you tubes including Radiohead and others at The Last Lullaby: http://cahierspositif.blogspot.com/2011/04/random-sampling-of-todays-soundtrack.html

At Ferdy-on-Films Marilyn Ferdinand has penned an exceptional, though most scrutinyzing apparaisal of documentarian Erool Morris’s new work, Tabloid: http://www.ferdyonfilms.com/?p=9584

Meanwhile at This Island Rod, Ferdinand colleague Roderick Heath has a stupendous essay up on Paranormal Activity: http://thisislandrod.blogspot.com/2011/04/paranormal-activity-2007.html

Peter Lenihan is back! This most welcome news includes a resurrection of The Long Voyage Home, where the ertswhile cineaste offers up a short essay and some gorgeous screen caps from a rarely-seen noir from 1946, Decoy: http://thelongvoyagehome.blogspot.com/2011/04/decoy.html

Jeff Stroud is leading up with a fascinating post titled “Create to Remind Yourself” at The Reluctant Blogger: http://jeffstroud.wordpress.com/2011/04/13/create-to-remind-yourself/

David Schleicher has penned an excellent review of Joe Wright’s Hanna at The Schleicher Spin: http://theschleicherspin.com/2011/04/10/shooting-circles-around-the-heart-of-joe-wrights-hanna/

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 engaging piece on the horror film Insidious, which he feels “works” in large measure at Little Worlds: http://hokahey-littleworlds.blogspot.com/2011/04/tiptoe-through-further-with-insidious-i.html

At Cinemascope, Shubhajit is leading with a terrific capsule on the omnibus “New York Stories”: http://cliched-monologues.blogspot.com/2011/04/new-york-stories-1989.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 great review up at Radiator Heaven on 1995’s The Passion of Darkly Noon: http://rheaven.blogspot.com/2011/04/passion-of-darkly-noon.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 the new Jane Eyre at Gateway Cinephiles: http://gatewaycinephiles.com/2011/04/15/jane-eyre/

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 Italian gem Le Quattro Volte at From the Front Row: http://fromthefrontrow.blogspot.com/2011/04/review-le-quattro-volte.html

At The Cooler Jason Bellamy has penned an intriguing essay on Robert Redford’s The Conspirator: http://coolercinema.blogspot.com/2011/04/pawn-in-game-conspirator.html

At Cinema Styles Greg Ferrara has an engaging display on titles called “Aelita Queen of Mars”: http://cinemastyles.blogspot.com/2011/04/intertitles-aelita-queen-of-mars.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 British film Fish Tank: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.h

John Greco has a terrific review of Sydney Lumet’s Night Falls on Manhattan at Twenty Four Frames: http://twentyfourframes.wordpress.com/2011/04/15/night-falls-on-manhattan-1997-sidney-lumet/

Jaime Grijalba offers up a stupendous review of Ken Russell’s The Devils at Exodus 8:2: http://exodus8-2.blogspot.com/2011/04/sams-flick-picks-15-devils-1971.html

Tony d’Ambra has published his poetry in a paperback volume, available here for a reasonable price. This great work is also available to download. WitD is proud of this publishing event and congratulations to Tony: https://www.lulu.com/commerce/index.php?fBuyContent=10534204

Family is at the center of another remarkable post by Terrill Welch at the Creativepotager’s blog: http://creativepotager.wordpress.com/2011/04/15/three-in-one-post/

At Scribbles and Ramblings Sachin has penned a terrific piece on “A Double Dose of Gaspar Noe”: http://likhna.blogspot.com/2011/04/double-dose-of-gaspar-noe.html

At Speaking from the Heart Laurie Buchanan is on her way back from a witer’s institute seminar in Madison, Wisconsin: http://holessence.wordpress.com/2011/04/14/write-on-part-2/

Jason Marshall has named Scarlet O’Hara as the ‘Best Actress’ of 1939 for her celebrated performance in Gone With the Wind: http://moviesovermatter.com/2011/04/10/vivien-leigh-as-scarlett-ohara-in-gone-with-the-wind-best-actress-of-1939/

Ed Howard’s miraculous run at Only the Cinema continues with a an exceptional essay on Catherine Breillat’s Fat Girl: http://seul-le-cinema.blogspot.com/2011/04/fat-girl.html

One of the most truly ecclectic of all bloggers, Samuel Wilson has penned a fantastic review of Fellini’s The Clowns at Mondo 70: http://mondo70.blogspot.com/2011/04/fellinis-clowns-1970.html

At Living in Cinema Craig Kennedy’s latest “Headline” post is leading the way: http://livingincinema.com/2011/04/16/headlines-now-with-all-the-brown-ones-removed/

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 has a marvelous post up, featuring post-punk numbers used in Oliver Assayas’s masterful Carlos at The Last Lullaby: http://cahierspositif.blogspot.com/2011/04/new-wave-of-crime-film-sound.html

At Ferdy-on-Films Marilyn Ferdinand lovingly recalls the Sundays of her younger years in an affecting piece down Memory Lane: http://www.ferdyonfilms.com/?p=9507

Meanwhile at This Island Rod, Ferdinand colleague Roderick Heath has a stupendous essay up on Paranormal Activity: http://thisislandrod.blogspot.com/2011/04/paranormal-activity-2007.html

Jeff Stroud is leading up with a fascinating post titled “Create to Remind Yourself” at The Reluctant Blogger: http://jeffstroud.wordpress.com/2011/04/13/create-to-remind-yourself/

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/

David Schleicher has penned an excellent review of Joe Wright’s Hanna at The Schleicher Spin: http://theschleicherspin.com/2011/04/10/shooting-circles-around-the-heart-of-joe-wrights-hanna/

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 three-reviews-in-one up at Little Worlds on The Conspirator, Water For Elephants and The Way Back. Great stuff!: http://hokahey-littleworlds.blogspot.com/2011/04/conspirator-water-for-elephants-and-way.html

At Cinemascope, Shubhajit has penned an awesome review of Ingmar Bergman’s Fanny and Alexander: http://cliched-monologues.blogspot.com/2011/04/fanny-alexander-1982.html

Kaleem Hasan’s Satyamshot remains the place to be for Indian culture, film, sports and politics: http://satyamshot.wordpress.com/

J.D. has a great review up at Radiator Heaven on 1995’s The Passion of Darkly Noon: http://rheaven.blogspot.com/2011/04/passion-of-darkly-noon.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 the new Jane Eyre at Gateway Cinephiles: http://gatewaycinephiles.com/2011/04/15/jane-eyre/

R.D. Finch has a spectacular post up at The Movie Projector, highlighting the Greatest Performances by an Actress in a Leading Role. As always the Finchian presentation is of the first-rank: http://themovieprojector.blogspot.com/2011/04/greatest-classic-performances-by.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 Italian gem Le Quattro Volte at From the Front Row: http://fromthefrontrow.blogspot.com/2011/04/review-le-quattro-volte.html

At The Cooler Jason Bellamy has penned an intriguing essay on Robert Redford’s The Conspirator: http://coolercinema.blogspot.com/2011/04/pawn-in-game-conspirator.html

At Cinema Styles Greg Ferrara has an engaging display on titles called “Aelita Queen of Mars”: http://cinemastyles.blogspot.com/2011/04/intertitles-aelita-queen-of-mars.html

Jake Cole has a penned a superlative piece on Scorsese’s Taxi Driver, which he has crossed to post on “Cinelogue”: http://armchairc.blogspot.com/2011/04/taxi-driver.html

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 capsules from a rather obscure but revered French film entitled A Lake by Phillipe Grandrieux: http://thebluevial.blogspot.com/2011/04/five-from-favorite-lake-philippe.html

At Velvety Blackness, Jean has written a brilliant essay on the British film Fish Tank: http://velvetyblackness.blogspot.com/2011/04/fish-tank.html

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.h

67 Responses

on April 25, 2011 at 4:49 am | Reply Jason Marshall

I have been away from comments for a few weeks because I’ve been so busy with dissertation work. It’s also caused me to miss out on much of the film noir countdown, which has produced many essays worth reading. Hopefully I can catch up with them.

I appreciate your plug for my review of “The Conspirator” even though you disagree with me vehemently. We have been going back and forth on this one, but I still say it will likely end up on my worst of year list.

Otherwise, nothing thrilling has been going on. I’ve been house sitting so I’ve had to opportunity to get out of my small apartment and spread out in a big house to work on both my dissertation and blog writing. My countdown for 1940 will be coming soon and I’m hoping to have all the essays written before I start so it doesn’t take me a month and a half to get through a year.

How great to have a W.C. Fields festival to go to! He’s one of my favs and “It’s a Gift” and “The Man on the Flying Trapeze” are two of my favorites (along with “The Bank Dick” — which I guess you can has a good shot of ending up on my 1940 list). But on top of that and the Tribeca Film Festival, you also have a production of Angels in America. What a rich cultural calender!

As for me I made it out to several new releases. You already have my views on “The Conspirator,” and reviews will be coming of “Rio,” “Scream 4,” “Kill the Irishman,” and “Water for Elephants.” There’s only one in there that I really liked. Can you guess which one?
- on April 25, 2011 at 7:57 am | Reply Longman Oz
  
  If its “Kill the Irishman”, you will have to catch me first!
  - on April 25, 2011 at 8:27 pm Sam Juliano
    
    LOL Longman!!!!! You always crack me up!!!!!
- on April 25, 2011 at 2:09 pm | Reply Sam Juliano
  
  Jason, I fully understand your position on THE CONSPIRATOR, though I am fairly sure it will end up on my “best” of the year list! I read your last response at MOVIES OVER MATTER and I can only add that history’s perceived injustices could not have framed Surratt as anything but a martyr at this point, and Redford cannot and should be held accountable for his maintaining the historical status quo. Besides, I wouldn’t have it any other way, when you consider in the acute courtroom drama that is played out, and the well-crafted emotional bond between audience and character. There isn’t anything false here at all, and I commend Redford for playing all his cards right.
  Preparation for your dissertation is a million times more important than blogging, so I’m sure you’ll own a well-deserved pass from everyone on the boards. And best of luck with it.
  Yes, this was a hectic and diverse week, and much of teh same is set for the upcoming seven days, starting tonight with a documentary THE SWELL SEASON, featuring the pair from the Irish musical ONCE. The highly-anticipated film purportedly examines the duo’s life at present. I have a Tribeca film lined up for every day this week, until Saturday (SHAKESPEARE HIGH). I know well you love Fields too. I will be seeing THE BANK DICK on the day it is offered next week.
  Ha! My guess is that you liked RIO, which has received solid notices. i haven’t been able to get to it yet.
  Have a great week my friend! And many thanks as always.
  - on April 26, 2011 at 4:59 pm Jason Marshall
    
    There seems to also be a solid consensus that Oswald didn’t shoot Kennedy — or at least he didn’t do it alone. That doesn’t make it so. I still think she was guilty by some degree and Redford’s failure to grapple with that is a failure of the movie.
    
    And no it isn’t “Rio.” 🙂
- on April 25, 2011 at 5:10 pm | Reply Jamie
  
  “I appreciate your plug for my review of “The Conspirator” even though you disagree with me vehemently. We have been going back and forth on this one, but I still say it will likely end up on my worst of year list.”
  
  I slowly stand and begin golf clap…
  - on April 25, 2011 at 8:27 pm Sam Juliano
    
    Ha Jamie!!! I knew you’d be stopping in!!!!! LOL!
  - on April 25, 2011 at 8:33 pm Jamie
    
    I continue to be amazed not only that you like it, but that you think it’s damn near great. And emotional. Holy cow.
  - on April 25, 2011 at 8:36 pm Sam Juliano
    
    The only person who can yet rescue me Jamie, is the almighty Allan. But I have a sneaky suspicion he’ll be signing my death warrant!
  - on April 25, 2011 at 9:00 pm Jamie
    
    Yeah, I’d bet quite a bit on money that Allan’s opinion on the film will mirror my own. But no biggie, we all have our personal favorites.
  - on April 26, 2011 at 5:07 pm Jason Marshall
    
    Thank you Jamie. And I slowly bow.
on April 25, 2011 at 8:54 am | Reply Longman Oz

Hi Sam. Sorry to not be around last week.

Hah – “Point Blank”. I nearly had a panic attack when that epilogue initially seemed like a fourth act. Its a well-made but predictable and desperately silly flick in my book. Would definitely prefer “Tell No One” from that sub-section of French cinema.

Another DVD week for me, including:

Max Manus (2008) – Similar facts-based premise to “Flame & Citron”, but a better film for my money, as it focuses more on the human cost of war rather than the thrill of the action and the hail of the bullets. Its still a bit of a shaky three-ring circus between respectful corner-cutting biopic, action drama, and psychological profile, but I felt for the guy at the end, which is what all good films should make you do. Aksel Hennie, in the titular role, also looks like a young Christopher Walken.

Absolute Power (1997) – I don’t know what it is about awful films like this that you end up seeing them more often than good ones. If it had been meant as parody, it might have excelled. Alas, this was about as grotesque and ill-conceived as Clint has ever coughed up as a director.

Dark Knight – A bank holiday weekend always means a blockbuster on Irish television. Third time seeing it now and probably the first time that I have watched it with more perspective (favourable overreaction the first time and unfavourable overreaction, as a consequence, the second time). Even now, I find myself torn between thinking that its desperate rubbish and one of the best films about modern society out there. I think that there is just so much packed in there, that nothing quite gets the treatment that it ought to. However, for all that, the amount of avenues of debate that it opens up really are to its credit. And then there’s Heath Ledger…

Romper Stomper (1992) – Speaking of Australians, this perhaps can be described as the ugly antipodean face of Shane Meadow’s “This is England” and my favourite Russell Crowe film. The daring use of brutal, venomous punk music, the relentless chaotic violence, the it-sneaks-up-on-you sense of Little Boys Lost to the gang, the wardrobe & make-up, and the use of camera angles all combine very well with what would come to be a trademark muscular, snarling performance out of Crowe. Not that mad on the denouement, but I can appreciate what the director was trying to achieve with it.
- on April 25, 2011 at 10:50 pm | Reply Sam Juliano
  
  As I respond here I am listening to the CD of Alfred Newman’s score to John Ford’s HOW GREEN WAS MY VALLEY (1941) Allan sends me e mails calling me a demented, sentimental old fool. Indeed tears come to my eyes while listening to this affecting music, and I can’t say I’m fully responsible how I will respond here.
  
  Hahaha Longman!!! This is absolutely FANTASTIC. I see a film at the Tribeca Film festival, thinking that nobody who visits this site will know hide nor hare of it (at least at this point in time) Lo and behold, I am happily proven wrong. Mind you, you are a step up on much European cinema, and I’m glad to get some (basic) validation to what I asserted. It was very entertaining, but at the end of the end, yeah it’s rather implausible and silly. I was not the biggest fan of TELL NO ONE, but I completely agree in that sub-genre of French cinema (not a particular strength for them) it’s tops and ahead of this one. I had a decent enough opening night though, I can’t really cry foul. I was being a half-star too generous I know.
  I haven’t seen MAX MANUS, but am surprised you find it better than FLAME AND CITRON! Wow. I’ll definitely have to check it out, as I am a fan of the Danish film.
  ABSOLUTE POWER is indeed Trash Incarnate. I saw it once in the theatre and that was that. I agree with you that it’s one of Clint’s most forgettable films in just about every sense.
  ROMPER STOMPER is pretty powerful stuff, I concur. You frame Crowe, the music and visuals quite effectively there, and at the end of the day I prefer this to AMERICAN HISTORY X. Excellent reference point there to Meadows’ film too, another I quite liked.
  I have frankly gotten over THE DARK KNIGHT, but fully understand it’s fans are militant. The site’s Dennis Polifroni for one, will defend it till the end of his days. Ledger of course will always be remembered for it for so many reasons. I can’t really say where that pendelum will settle for you Longman in regards to it.
  I have noticed you haven’t been active over the last week, especially at your place. But I can well understand you are busy. I will regularly check on updates of course my friend.
  
  Many thanks as always my friend for the first-rate comment on this thread!
  - on April 27, 2011 at 11:42 am Dennis
    
    Well, I will defend THE DARK KNIGHT, but I’m not sure if I’ll have to till the end of days as those that love it grow more in mass everytime someone else sees it.
    
    Frankly, I never understood all the negativity the snotty so-called “intelligentsia” that supposedly love film have leveled upon it. Straight to the point, the film told it’s story well, made the fantastic that was seen as fantastic in Burton’s films seem almost realistic here, and also made a few social comments in the process. The performances are all uniformly superb with Ledger the standout as the demented JOKER and the direction is tight and the editing perfectly conveying the disjointed behavior of the villian and the smooth as silk machinations of the hero.
    
    I wouldn’t call THE DARK KNIGHT the best film ever made, but I would call it the best live action interpretation of Batman done on the big screen. The film is an entertainment that just happens to pepper a few moral questions and social statements within its fabric and I think that’s an added bonus to a film that would have been superb without them as well.
    
    Nuff said…
  - on April 27, 2011 at 11:52 am Dennis
    
    ” Visually, the film cannot be faulted, and Nolan is to be applauded for managing to do things without CGI that most directors can’t manage with. His use of camera angles, editing and lighting, perfectly in tandem with the excellent work of regular collaborator Pfister, creates a poem to darkness written in darkest, arterial blood. He’s also helped by a truly magnificent cast. Bale really comes into his own in the lead, not only comfortable with the pools of deepest black into which he regularly plummets, but also continuing his string of fine work for Nolan. Caine – likewise appearing in his third straight Nolan film – is as welcome as ever, while Oldman grows ever more enjoyable as the honest cop. Then there’s the two new boys, and kudos to Eckhart, who manages to make his transformation from shining knight to vengeful maniac believable, and doesn’t seem merely the side salad he did for Tommy Lee Jones. The last word, however, to the late Heath Ledger, who gives not so much a performance as a haunting, every tic, inflection, quirk and mannerism a joy to behold. Not many people could reinterpret a role played by Jack Nicholson and make him look like a rank amateur, but Ledger does this and more. (Credit also to Nolan, for really let him roll with the part and trusting in his unique, sadly short-lived talent.) The Dark Knight may not be great cinema, but as Hitch might have said, “it’s only a movie.” And it is a great movie, and the summer season hasn’t provided too many of them in recent times.”
    
    That paragraph, one of praise and excitement for THE DARK KNIGHT, was written by the hardest and most cynical of all the WITD critics, our own ALLAN FISH.
    
    Again, I think the yay-sayers on this film will far out-weigh the nay-sayers. They’re always looking to bash something popular as “not art’ when they should marvel marvel at something that does what it sets out to do so effortlessly…
on April 25, 2011 at 10:26 am | Reply John Greco

Sam,

Thanks again for the shout out. Maurizio’s Film Noir countdown has been a real treat filled with excellent reviews, great choices and a few surprises. All the countdowns are a lot of work, though the fun kind and I applaud Maurizio’s endurance along with that of all the previous contributors on prior countdowns. The W.C. Fields festival must be a real treat, and from your note earlier this week it looks like the Film Forum has one hell of a great schedule coming up this summer with the Pre-Code fest and the Keaton Mondays. Great stuff. Nothing much to report on my own home front other than the four films below.

Water for Elephants (**1/2) This was one my wife dragged me to (LOL). She read the bestselling book and wanted to see it…and we did. She loved it, I found it too long.

The Major and the Minor (****1/2) Billy Wilder’s first directorial effort is pure Wilder. An underrated film that does not seem to get the attention it deserves. Ginger Rogers gives one of her most appealing performances as a twelve year old. Amazing what got passed the censors in this film!

Lady Killer (***1/2) James Cagney and Mae Clarke reunite in this pre-code comedy/drama. Cagney is a con-artist who skips town after one of his gang members kills someone. In L.A., he becomes a movie star only to eventually have to face his past when his old gang reappears. This is light fluff that only Cagney could pull off. If you think Jimmy C. treated Mae Clarke rough smashing a grapefruit in her face in “The Public Enemy,” that is nothing considering the nasty treatment he does to her here. A review coming up later this week at 24 frames.

Smash the Camera (***) Those old enough will remember sleazy paparazzi photographer Ron Galella who made a career of stalking Jackie Kennedy in the 1970’s and 80’s. Galella gave photographers, and I use that term loosely, a bad name. He work is not really very good, his success has more to do with his doggedness in tracking his prey than technical or artistic merits. Anyway, this documentary traces his career and follows him around as even today he continues hunting in the celebrity stalking market, only it is a lot more crowded.
- on April 25, 2011 at 9:33 pm | Reply Sam Juliano
  
  John: Maurizio’s work has gotten better and better during this exhaustive 10 week project. He has characteristically been even-headed and even-tempered, has by and large given the site a countdown to be proud of, and even while noting a few personal favorites has covered the wide parameters of the genre. As a lifelong noirist yourself (who has insightfully written up just about every film appearing on this countdown at TWENTY FOUR FRAMES) you know the thorough job he has done, and how his reviews have broached everything worth discussing in these genre classics. As far as this countdown -and all the countdowns- providing a challenge by way of exhaustive work required, I couldn’t agree with you more and I tip my hat to Maurizio for staying the course and doing a uniformly excellent job with the reviews and the comment threads. He should be proud of the bushels of comments he’s received right along, and if that doesn’t convince some, the traffic he’s generated has been extraordinary. The noir countdown follows two other highly successful genre ventures at the site – the horror countdown and the animation coundown.
  I hope to attend a few more of the Fields (THE BANK DICK and NEVER GIVE A SUCKER AN EVEN BREAK double feature is a sure thing) but I won’t be able to see all or most with all the other endeavors going on. Like you I’ve already seen every film in the Fields Festival on DVD, television or in other venues, so there’s nothing urgent here.
  I will definitely attend EVERY single Keaton Monday (that’s been already decided) as the big-screen allure and the live piano accompaniment by Steve Sterner is simply too much to pass up on, and also plan to make maybe a dozen of the double features in the Pre-Code Festival in August. I know you would be there with bells on, if you were still in NYC.
  Lucille and the kids saw WATER FOR ELEPHANTS (I stayed back) and my wife pretty much concurs with your summary judgement. I agree with you on Wilder’s THE MAJOR AND THE MINOR – it’s an underrated Wilder. You penned a terrific review of it at your place of course. Ringer Rogers and Ray Milland are wonderful.
  I must check out SMASH THE CAMERA. It’s a documentary that has eluded me, and I much appreciate your insightful capsule assessment. And you are dead-on with that Cagney/Clarke pre-coder. How true what you say here in comparsion to the more famous PUBLIC ENEMY.
  
  Thanks as always for the buffo wrap my great friend!
  - on April 26, 2011 at 6:58 pm mark s.
    
    Who the fuck is Ringer Rogers! lol. “The Major and the Minor” is indeed vastly underappreciated and speaking of ringers, Jennifer Aniston is ripe for the Rogers role in a remake. I see her as Susu right now. Does Hollywood?
  - on April 26, 2011 at 7:00 pm Sam Juliano
    
    Who the fuck is Ringer Rogers! lol.
    
    hahahahahaha Mark!!!! I’m up to my old tricks again!
on April 25, 2011 at 11:39 am | Reply Jeffrey Goodman

Sam, thanks so much for the wonderful mention.

I was excited to hear about your WC Fields experience. Like you, I feel that his IT’S A GIFT is one of the funniest films I’ve ever seen. I also really look forward to hearing about the rest of your Tribeca viewings.

Thank you, too, for letting me know that Peter Lenihan is back. He’s one of my absolutely favorite bloggers, and I am very excited that he is back.

This week was one of my most enjoyable viewing weeks in recent memory. I saw: ACCATONE, THROUGH A GLASS DARKLY, MISHIMA: A LIFE IN FOUR CHAPTERS, POLICE, ADJECTIVE, EL CID, VIRIDIANA, IL POSTO, and THE INNOCENTS. All were great to see, but the two that affected me the most were the Romanian film and the Schrader work. I found POLICE, ADJECTIVE simply to be the most thrilling (and disciplined) work cinematically that I have seen all year while Schrader’s film was a great surprise in both how stylish and moving it was.

Here’s to another awesome week, Sam. Thanks so much for all that you do!
- on April 25, 2011 at 9:02 pm | Reply Sam Juliano
  
  Jeffrey, I do remember your glowing praise for IT’S A GIFT during your annual countdown. There was a rather hysterical interchange between Fields’s grandson and a moviegoer during the introduction as I well recall. They spoke about there being a real “Carl LeFong” in the phone book! The LeFong dialogue was one of the film’s highlights, those the blind man crossing the street, the baby dropping a pen-knife through a hole narrowly missing the sleeping Fields, and shaving episode in the beginning are unforgettable. And I couldn’t stop laughing near the end when Fields responded with “Tomorrow I may be sober…….but you’ll be crazy for the rest of your life!” I failed to mention in the lead-in Jeffrey, that the Film Forum also showed the short “The Dentist” before “It’s A Gift.” That one is another classic!
  I expect to have a full round-up on Tribeca by next Monday, but I am anticipating the possibility of one or two individual posts before then. Tonight’s documentary “The Swell Season” starring Glen Hansard and M. Irglova of the extraordinary Irish musical film ONCE may well be an instance where I can’t wait.
  Peter Lenihan is indeed one of the brightest and most tasteful bloggers out there. He has sorely been missed, hence his return is truly cause for celebration.
  That’s a simply astounding lot of films you checked out this past week. I certainly join you in praising that superlative Romanian film, which finished #6 on my own year-end Top 10 list. I must say I completely agree with you about the film being disciplined cinematically. The last 20 minutes too is stunning (with the long speech).
  I am a huge fan of Bergman’s THROUGH A GLASS DARKLY (Harriet Andersson gives the director one of the finest performances he’s ever been treated to, and that’s saying something) and feel the brilliant VIRIDIANA may well be Bunuel’s masterpiece, though again he has a half-dozen contending for that titles. I love ACCATONE, THE INNOCENTS, IL POSTO and Anthony Mann’s EL CID, the latter of which I saw in festical over the summer in a gorgeous widescreen print. I see the blu-ray is nearing release, and it will be tough to resist even with ownership of the excellent DVD box set. God, what a lineup you negotiated this week!! And you call other people “tireless”? Ha!!!
  Oh, I like Schrader’s film too. This may be the greatest lot you’ve watched in one week in quite a while, even though you have been playing the loaded deck game each and every week.
  
  Many thanks as always my excellent friend!!!
  - on April 25, 2011 at 9:25 pm Jeffrey Goodman
    
    Sam, thank you so much. THE DENTIST is one I still need to see. In fact, I don’t think I’ve seen any of the Fields short films. I need to do something about that, definitely.
    
    And I completely agree with you about Andersson’s performance in the Bergman film. It’s one of the most amazing female performances I have ever seen. It’s always so real and felt, when it could easily have been histrionic and melodramatic.
    
    Thanks, Sam! Here’s to another awesome week of Tribeca, Fields, and whatever else might come your way.
  - on April 25, 2011 at 10:19 pm Sam Juliano
    
    Jeffrey, the essential Fields shorts are playing today and tonight, but I am busy with Tribeca (will be leaving the house in about an hour)
    
    Fields In Short—-
    
    Four early (1930-33) short subjects: As The Golf Specialist, adapted from his famed vaude sketch intact, Fields endures a constantly interrupted golf lesson; as The Pharmacist, he puts up with drug store customers from Hell; in The Barber Shop, his clients get the closest shaves of their lives; and flashbacks reveal his encounter with The Fatal Glass of Beer, perhaps the most bizarre short ever. Approx. 80 minutes.
    6:00, 9:45
    
    “In these orgies of wild, violent, illogical, disconnected slapstick,
    Fields established his hundred-proof comic persona.”
    -– Andrew Sarris
    
    THE GOLF SPECIALIST: “Fields’ first sound short. The highlight here is Fields’ entanglement
    with a screaming little girl, not to mention the fake mustache from his silent days.”
    – Dennis Perrin
    
    THE FATAL GLASS OF BEER:
    “A phenomenal example of Fields’ vision, it’s a vaudevillian caprice that to this day is also an avant-garde tour de force.”
    – Armond White, New York Press
    
    THE FATAL GLASS OF BEER:“The wildest of W. C. Fields’ 2-reelers, and the best.” – Pauline Kael
    
    THE FATAL GLASS OF BEER:
    “I have never recovered from the first time I saw the W. C. Fields short, The Fatal Glass of Beer.
    It represents for me still the high point of cinema, surpassing even Groucho’s Duck Soup.”
    – Harold Bloom
    
    “A peculiar classic, one well-suited to repeated viewings.” – Dennis Perrin
    
    Thrilled to hear what you say there about Harriet Andersson’s performance!! Many thanks to you my friend!
on April 25, 2011 at 12:50 pm | Reply Frank Gallo

I’d love to see The Bank Dick at the Fields Festival. I need to check out the dates. Sounds like Tribeca started off well enough, though I’m sure you are hoping for even better offerings.
- on April 25, 2011 at 2:20 pm | Reply Sam Juliano
  
  Frank, I believe THE BACK DICK is screening on Saturday, April 30th with NEVER GIVE A SUCKER AN EVEN BREAK as the other part of the double feature. I am thinking I’ll probably attend the matinee shows, as I’ll have the Tribeca offering at night. But you are welcome to join me. As far as Triba, I’m figuring we’ll wind up with a few very good ones, tonight included.
  
  Many thanks my friend!
  - on April 25, 2011 at 2:26 pm Frank Gallo
    
    Count me in Sam. I couldn’t make it at night either, but the afternoon is perfect. Lisa may want to come along too.
  - on April 26, 2011 at 11:35 pm Sam Juliano
    
    It would be great if Lisa came too Frank!
on April 25, 2011 at 2:16 pm | Reply Marilyn Ferdinand

This has been an exceptional week for me, mostly recalled the first For the Love of Film: The Film Preservation Blogathon. Northwestern University hosted a four-day conference on film criticism, with such luminaries as Jonathan Rosenbaum, Scott Foundas, Ignatiy Vishnevetsky, Dave Kehr, and others hosting panels and offering films. But the most luminous of the luminaries was my blogathon partner Farran Smith Nehme, whom I had never met. We corrected that oversight and had a lovely dinner on Friday; I sat in on her panel on Saturday before heading up to Madison, Wisc. for a showing of Upstream, one of the films from the New Zealand Archive the National Film Preservation Foundation took on (including the two shorts the blogathon funded). As a bonus, they had the short film When Lincoln Paid, discovered in a barn in upstate New York, precede Upstream, and it’s a very compelling drama. The icing on the cake was meeting the new Jim Healy, lately of Eastman House, and now director of programming at University of Wisconsin’s Cinematheque – a wonderful man with a great line-up of films on offer – and having coffee with silent-film accompanist David Drazin, a consummate musician with a supernatural talent for film accompaniment.

Film viewings were more sparse this week, but I wrote up what I saw on FonF, including Tabloid (which you kindly mentioned), seen at an advance screening at the NU conference and Bertolucci’s first feature film The Grim Reaper.
- on April 25, 2011 at 2:44 pm | Reply Sam Juliano
  
  Geez, Marilyn, that is a week for the ages! I agree that meeting up with Ms. Smith-Nehme was a special moment indeed. The distinguished “Self-Styled Siren” served as your partner in many of your film-related ventures, and I’m sure that dinner meeting was one you’ll always cherish. I know I would feel exactly the same if I was in that position. But what a fantastic convergence of some of the great critics there! Wow. Rosenbaum, Kehr, Foundas, et al. The trip to Madison was equally as thrilling of course, as you negotiated that new Zealand feature and then WHEN LINCOLN PAID. Is that the D. W. Griffith film that was long thought lost? If so, I believe I did read something about that early last year. or maybe I’m confusing it with another film. And the icing on the cake too meeting Jim Healy of Eastman House and the composer David Drazin. I just did some quick research on Drazin, and found some great stuff including glowing quotes from Rosenbaum and others:
  
  http://www.kendavies.net/daviddrazin/
  
  Awesome in every sense, and an incomparable week that must have you drained! And then you are able to post reviews at FERDY ON FILMS? Incredible.
  
  I did indeed see the excellent essays on TABLOID and THE GRIM REAPER. I completely concur with the assessments to boot.
  
  Congratulations on this big eventful week Marilyn, and many thanks for sharing it here!
  - on April 25, 2011 at 3:51 pm Marilyn Ferdinand
    
    Actually, the evening was devoted to the Ford brothers. Francis directed the 1913 short, and John, of course, helmed Upstream with a cast of actors completely unknown to me. Both films were wonderful. I erred in saying it was found in NY. It was actually a New Hampshire barn. According to Healy, another fragment was found somewhere else that contained scenes not found in the N.H. version, so additional restoration is ongoing.
  - on April 25, 2011 at 8:33 pm Sam Juliano
    
    Again I demonstrate why I am a scatter brain Marilyn. I read the newspaper article when that film was discovered, and remember it was the Ford brothers, yet I say Griffith here anyway! Ugh!!!! I remember the detail about the barn though so I get a tiny bit of credit from the the memory muses! Ha! But never knew what Healy said here about the additional fragments found elsewhere! That’s great news!
on April 25, 2011 at 3:26 pm | Reply holessence

“I have six (6) more Tribeca films scheduled to see every day this week from Monday night through Saturday.” Sam – when is it, exactly, that you eat and sleep?

The Fields Festival with two of your sons sounds like a complete and total blast. I’m so glad you guys had fun!

The word picture you painted of the stage play “Angels in America: A Gay Fantasia on National Themes” — sublime words pierce the heart and move you to tears — has captured my heart and makes me want to see it.

Thank you for tipping your hat at Speaking from the Heart.
- on April 25, 2011 at 10:34 pm | Reply Sam Juliano
  
  Hahaha Laurie! Well, I am able to function this week only because with the single exception of Wednesday (when I have an early screening at 5:30 P.M.) all the shows are latewr at night, ranging in fact from 8:45 till as late as 10:30 P.M. Tonight I have a 9:30 P.M. showing of the documentary THE SWELL SEASON (about the stars of the Irish film ONCE) so I at least have time here to prepare. And unlike past excusrsions it’s only one film at a time, even if there isn’t a free night until Sunday (the festival ends on Saturday). I will be taking my kids Saturday afternoon again to Fields, as I know they’ll absolutely love THE BANK DICK on the big-screen. I was thrilled they reacted like they did, I must say!
  
  I won’t soon forget the remarkable two-part experience I had with ANGELS IN AMERICA! What the company was able to do on stage boggled my mind–and quite the emotional time for sure–exceptional acting throughout. The second part was the fastest four hours I can remember, though only some Wagner and Verdi (DON CARLO) operas have gone that long.
  
  Thanks so much my great friend for your tireless support and passion. You are truly one of a kind, as many here will soon know more resonantly.
on April 25, 2011 at 3:53 pm | Reply creativepotager

Sam thank you for the shout outs but readers looking for the Jason Marshall blog post and ending up at Creative Potager may be disappointed 😉 Just thought I would let you know.

I watched three movies this week. I am going comment on one.

GASLAND (2010) a documentary directed by Josh Fox. This movie is “a must see” exploration about hydraulic fracturing for natural gas. In a big way, these drilling practices appear to place our potable drinking water and health and safety in North America is at risk. One small ray of hope in the film is it brings to attention the possibility for legislation that could prevent this disaster from happening in the Pennsylvania watershed that supplies drinking water New York City and Philadelphia. The practice impacts something like 34 States and, though this is not covered in the film, it is also happening in northeastern British Columbia and has just been suspended in Quebec until further studies can be done on the risk of toxins used in the process on humans and risk to water supplies. Of course an industry-supported backlash to this Sundance festival winning documentary is underway. Don’t be fooled by discrediting remarks – keep digging. It is a mess. I am feeling physically ill from the disheartening circumstances we find ourselves facing. I had a hard timed deciding whether to leave you a link and if so which one because it is a film that requires broader research once it is watched to come to terms with its content. I have settled on three to get you started.

Gasland: A film by Josh Fox (close the annoying donation popup and read) http://www.gaslandthemovie.com

PBS interview with Josh about Gasland (March 2010) http://video.pbs.org/video/1452296560

Gasland – Wikipedia http://en.wikipedia.org/wiki/Gasland as it outlines the film and a few critiques about points of accuracy that Fox addresses in greater detail this link here http://1trickpony.cachefly.net/gas/pdf/Affirming_Gasland_Sept_2010.pdf .

Mostly, I am appalled by our human greed and how we do things knowingly on so many levels to our earth and ourselves that cannot be repaired. Once we contaminate our soil and our oceans, and loose our drinking water it doesn’t really matter how much natural gas we have – the risks are not worth it. If we can’t safely extract natural gas without destroying our water supply we need to be changing our dependency on fossil fuels. And if that needs to be done faster, then let’s do it, before it is too late…

Thank you Sam and everyone for reading my rant. I do not often get on a tangent. GASLAND and my related research scared the pants off me. I had no idea this was happening and what the potential impacts could be. I hope you take the time to have a look for yourself. Shared knowledge is power. Best of the week to you!
- on April 26, 2011 at 5:37 pm | Reply Sam Juliano
  
  “If we can’t safely extract natural gas without destroying our water supply we need to be changing our dependency on fossil fuels. And if that needs to be done faster, then let’s do it, before it is too late… ”
  
  No more resonant words have ever been posed Terrill, and what with the gulf spill a continuing reminder of what calamities loom ahead in an ever-changing world, your words exude an ominous tone. This is no baseless tangent, but a cogent cautionary testament to the ongoing contamination of your water supply and natural resources. We must wonder how many times our planet can endure such catastrophic violation of our vital vassels of survival at the hands of human greed. It’s true that even if the natural gas resoueces are enhances, to what price must be pay? As someone who has championed the environment right along, I know the scenario you map out here in these excellent links tell the story compellingly.
  
  Aye Terrill. The Sundance winning documentary GASLAND is indeed essential. I will catch up with it for sure.
  
  This was an utterly eye-opening and critically informative comment, that is very much appreciated here. Thanks as always my friend!
  - on April 27, 2011 at 3:37 am creativepotager
    
    Thanks so much Sam for you thoughts on this subject. By the time I was done writing this piece for you and your readers I went on and used it as a framework for full blown post over on Creative Potager with more links and outlining some actions I have and can take to make a difference. So glad you are part of my community Sam. All the best. Terrill
on April 25, 2011 at 4:14 pm | Reply Samuel Wilson

Thanks as always for mentioning me, Sam. I still haven’t seen a 2011 film, but finally caught up with The Fighter this weekend. I suppose Christian Bale earned his Oscar, but can you call that a supporting role? I wouldn’t be surprised if he actually had more screen time than Wahlberg; it sure felt that way. By comparison, Wahlberg had perhaps the most thankless lead role of last year, though he was quite good in it.

I also took a fresh look at Out of the Past in order to have something to say when it showed up on Maurizio’s countdown, as has happened perhaps too soon for some fans. Also on the noir front, I caught Bruce Humberstone’s I Wake Up Screaming, a prime 1940 candidate for “first noir.” Whatever history says, I’ll admit there’d be a certain symmetry to declaring this one “first” and Touch of Evil last, as Laird Cregar and Orson Welles make good bookends, physically and thematically.

Otherwise, I stumbled upon Henry Hathaway’s Garden of Evil on Fox Movie Channel — a well-made, well-cast treasure-hunt western that lacks a certain edge but has a great closing line: “If the world were made of gold, men would die for a handful of dirt.” My most exotic viewing was probably The Rider Named Death, Karen Shakhnazarov’s richly made 2005 thriller about Socialist Revolutionary terrorists of a century earlier and their troubled sense of purpose. I hope to have more to say about some of these items later in the week.
- on April 26, 2011 at 6:32 pm | Reply Sam Juliano
  
  Samuel, very good point there about Bale’s role, which I do believe was really a leading one. Walberg’s performance didn’t wash over very well with the critics (the only performance in that film in fact that didn’t) but I think the appraisal was inordinately harsh.
  
  Ah, I WAKE UP SCREAMING. Yep, it is surely a prime candidate. Betty Grable was featured there is a “change of pace” role! Ha! It’s always a delight to return to OUT OF THE PAST, which as you’ve noted is regarded by so many (including Allan) as noir’s finest hour. Seems like repeat viewings always bring out so much more. Excellent point about symmetry, and TOUCH OF EVIL as the concluding bookend.
  
  Love that end quote from GARDEN OF EVIL, a solid western! It is more than interesting to note that the film contains a superlative Bernard Herrmann score (really his only ‘western’) that justly sits with his greatest accomplishments. The Marco Polo CD paired with THE PRICE OF PLAYERS suite is a treasure.
  
  I have not yet seen Shakhnazarov’s film yet I’m afraid, but I’ll be looking ahead to your assessment of it and GARDEN OF EVIL.
  
  Many thanks my great friend for the terrific wrap as always!
on April 25, 2011 at 5:12 pm | Reply Stephen Morton

I only saw a few movies this week, but they were interesting selections nonetheless.

Monday night I watched Be Kind Rewind, a shaggy little comedy from Michel Gondry that has its charms but ultimately isn’t all that funny and not really fully successful.

I re-watched the Studio Ghibli film Whisper of the Heart, which is one of the finest animated films ever, a heartbreakingly beautiful high school romance that never fails to touch me.

I saw Peter Weir’s The Last Wave for the first time, a remarkable movie that contains extraordinary images and an otherworldly atmosphere. It’s plot kind of falls apart and its low budget sort of messes up the ending, but still very much worth watching, the work of a real artist.

I saw Tony Scott’s Unstoppable, which was highly entertaining and intense, despite being shot and edited in a pretty distracting way.

And Saturday night I got to see Uncle Boonmee Who Can Recall His Past Lives on the big screen in a wonderful new art theater where I live. I didn’t get it. Certain images and scenes were remarkably beautiful, but I was never very emotionally involved, and the last 20 minutes just left me confused and a little irritated. I don’t presume to give a full opinion, as I’ve never seen another Apichatpong film and I obviously missed something here, but a very interesting premise and a few genuinely fascinating, if obscure scenes, just seemed to gradually drift into incoherence and randomness. I dunno. I was so excited for it, too.
- on April 26, 2011 at 6:53 pm | Reply Sam Juliano
  
  Stephen:
  
  I well remember having a major row with a close friend (site contributor Jason Giampietro) over that Gondry film. My kids came along and enjoyed some laughs, but I found it exceedingly lame. For me only ETERNAL SUNSHINE OF THE SPOTLESS MIND (one of the great films of the new millenium) stands tall among the director’s work. Yet, there are some that have found BE KIND REWIND as a brilliant satiric piece.
  
  You have hereby given me my cinematic recommendation of the week my friend with Studio Ghibli’s WHISPER OF THE HEART!! Those are exceedingly passionate words there.
  
  I can agree with those minor issues with THE LAST WAVE you assert here, while still agreeing it’s the work of a major artist and one of Weir’s most justly revered films. My favorite by him is PICNIC AT HANGING ROCK, but that’s a choice few would dispute I assume. Like THE LAST WAVE, some rapturous imagery abounds.
  
  Wasn’t much of a fan of UNSTOPPABLE, but fully respect and understand it’s allure for many. Can’t really argue with what you say there either.
  
  I don’t agree with you on UNCLE BOONME Stephen, but in view of the interesting responses at this site and else (where severla others share your sentiments) I’ll only say that a full investigation of the director’s work may shed some light on the philosophical underpinnings. I found in a visual sense it was a ravishing work, but again some others including the talented Samuel Wilson has some issues.
  
  I did not review the film at this site, but from the positive side I’ve yet to read any to match the extraordinary essay at ONLY THE CINEMA from Ed Howard:
  
  http://seul-le-cinema.blogspot.com/2011/01/uncle-boonmee-who-can-recall-his-past.html
  
  Stephen, thanks so much for this great submission, it is exceedingly appreciated!!!! Do you have a blogsite yourself my friend? I”m failing to acess it for some reason.
  - on April 27, 2011 at 8:16 pm Stephen Morton
    
    (Weird, I replied to this post last night, but it doesn’t seem to have shown up today. Oh well.)
    
    Thanks for the friendly words, Sam.
    
    I hope you do check out Whisper of the Heart, ‘cuz it’s fantastic and very underrated. If you want more encouragement, I recall that Mr. Stephen Russell-Gebbett had the film at number 5 on his excellent animation countdown here.
    
    Picnic at Hanging Rock, which I first saw a couple weeks ago, is likely Weir’s masterpiece. I am very partial to Witness and Dead Poets Society as well, though. The latter is not well-liked among cinephile circles, but I saw it when I was young and it’s remained a favorite ever since. The group of boys in the film emerge as really wonderful, believable characters, and I feel I connect with their triumphs and failures on a very deep level.
    
    My opinion of Uncle Boonmee is not set in stone, and I am certainly willing to concede I may be wrong in an objective sense, but I really felt that it’s last act is willfully obscure and confounding, and I didn’t know what to do except throw up my hands in exasperation. I am planning on watching Syndromes and a Century later this week. Maybe then I’ll be able to see what everyone else does.
    
    I do have a blog myself, it’s been up for several months but I haven’t really advertised it to anyone and I feel like I’m still just starting out. I just realized that the link I put in name on here is totally wrong, so no wonder you had trouble accessing it. I’ve changed it, but just in case that doesn’t work, here’s another link:
    http://www.petrifiedfountainofthought.blogspot.com
    
    Any traffic or comments is most welcome. 🙂
  - on April 28, 2011 at 1:43 am Sam Juliano
    
    Great to hear you have a blog Stephen. Just checked it out and it looks great. I’ll now add it to our blogroll, and will definitely be commenting over there!
    
    Stephen I am an English and literature teacher, so you can guess where I stand with DEAD POETS SOCIETY!!! I also connect deeply with it, and have watched it over 20 times (a half dozen in the theatre). I couldn’t agree with you more. It was one of my absolute favorite films of 1989.
    
    Also, great to hear your judgement on PICNIC AT HANGING ROCK.
    
    I’d love to hear what you say about SYNDROMES. Eventually you might want to give TROPICAL MALADY a go. That’s my favorite by the director.
on April 25, 2011 at 5:57 pm | Reply Shubhajit Lahiri

Thanks for the mention Sam. Great to know that your tryst with Tribeca Film Festival has begun, and you seemed to have watched a few interesting films. As for me, I just finished watching the wonderful noir by Fritz Lang, The Big Heat 🙂
- on April 25, 2011 at 10:54 pm | Reply Sam Juliano
  
  Aye Shubhajit, tonight I will be watching the third film, and I have one lined up all the way till Saturday, when I will again meet up with our good friend Joel (Movie Man) for that night’s offering, SHAKESPEARE HIGH. Is this your first viewing of THE BIG HEAT? If so, I am expecting something great at CINEMASCOPE! Great stuff and many thanks my friend!
  - on April 26, 2011 at 2:40 pm Shubhajit Lahiri
    
    Yeah, this was my first viewing of The Big Heat. Keep looking for my review of the film 🙂 Tonight I’m planning to post the review of Let Me In, one of the rare awesome American remakes of an acclaimed film.
  - on April 26, 2011 at 6:54 pm Sam Juliano
    
    Ah, Shubhajit, I’ll surely be checking that out. I much prefer teh Swedish original, but will concede the re-make was solid for the most part.
on April 25, 2011 at 6:29 pm | Reply Jaime Grijalba

Hellooooo Sam and everyone! Thanks for the double featuring here, but I feel that wordpress, once again, fucked up, and gave out some discordant notions. Make sure you check out my blog today AND tomorrow. Today there’s a quote extravaganza and tomorrow is the classic Sam’s Flick Picks.
Well, your week sure was full of stuff, including a chilean film. Too bad you didn’t make much of it, but I don’t tend to like chilean cinema myself. From those you’ve seen, I’m most interested in seeing those three Fields, they sound like comedy classics.
By the way Sam, Happy Easter! Hope you had a good weekend in any way you celebrate it and may blessings come from heaven to you and your family. Myself, I spent most of monday preparing a presentation for wednesday, which I presented and got trashed (but that’s the way around here). Tuesday I was able to see my girl… so was Thursday. You see, for my TV workshop we had to do a ‘docureality’, don’t know if you’re familiar, but we have to follow someone for a while and edit it into a structure. So, thursday we followed my girlfriend, why? Because she got invited to make part of the school’s student union but then got trashed.
So, thursday was that. Friday was a day of relaxation/sacrifice, that’s because it was Good Friday, and as a sacrifice I decided to not watch any films at all, I suffered a lot, since I didn’t have much else to do, so I read quite a lot. Saturday I got my revenge and saw many films. Sunday I went out with my girlfriend to eat something and to prepare for today, because we kept shooting this morning and I’m quite tired now. Editing comes now and you know how much I loathe it when there’s little time.
My week, movie wise:
– BubbaHo-Tep (2002, Don Coscarelli) ****1/2 At first I was going to give it a ****, but I began to wonder about how many things it teached me. It inspired me enough to make a blog entry. I liked it quite a bit and the ending is sweet/sour and those I love. The creatures looked good and Bruce Campbell can’t be beaten, he’s the man.
– Bullets Over Broadway (1994, Woody Allen) ****1/2 How talented can a mafia guy be? The world of the theater is one I enjoy and this was perfectly portrayed. It also envisions quite some issues regarding the creative process and the mindset of a writer or artist. Quite a good film from the Woodman.
– The Crimson Permanent Assurance (1983, Terry Gilliam) ****1/2 This short is well known as the preambule to the Monty Python film, but it sure works as a feature itself, and quite a funny one, with lots of satire and many references to genres of yesterday. Good action scenes and splendid song.
– Fight for Your Right Revisited (2011, Adam Yauch) *** Short film featuring songs and rythms of the Beastie Boys, also featuring a ridiculous amount of stars and actors that could get any film out of their budget inmediatly. This is nothing more than a joke and a promotion for the Beastie Boys next album, but sans the jokes, it has quite exciting visuals.
– Manhattan Murder Mystery (1993, Woody Allen) **** Funny, splendid, full of mysteries, quite good locations, good characters, good camera movements… why ruin all that with that unnecesary explanation at the end. I know it mimics some films of the past, but in this one it felt dumb, because I already understood what happened, I didn’t need that.
– The Meaning of Life (1983, Terry Jones) ****1/2 Of course I saw this, and it may be the lesser of the three features from the fantastic group Monty Python, but it’s still funny, full of visual appeal, outrageous, it made me laugh and laugh and sing. “The Universe Song” and “Every Sperm is Sacred” are part of my usual repertoire.
– Mildred Pierce (2011, Todd Haynes) ****1/2 Finished this one and it’s just marvelous. Splendidly acted, shot, made, everything was so carefuly put in its proper place… and the drama, oh my, this one may feature as one of the best movie/feature/whatever of the year, I really liked it, and I didn’t think I would.
– Night Train to Munich (1940, Carol Reed) **** This one has its review on my blog as a Sam Flick Pick. Liked quite a bit.
– Scream 2 (1997, Wes Craven) **** The sequels are inherently inferior products, says one of the characters… unless they’re from the Scream saga. Contrary to most of the people in the planet, I liked this sequel, as it gave it quite a twist at the ending, with some nice references (quite meta) and some balls at the choice of killing one of my favorite characters.
– Scream 3 (2000, Wes Craven) ***1/2 Preparing for Scream 4 has been an experience on its own, I liked the films and I didn’t really expect them to be any good. They’re no masterpieces, but they’re solid and into their own universe. This one had images that didn’t fit in the universe: ghosts, but still it’s the most meta I’ve had in quite a while.
Have a good week Sam!
- on April 26, 2011 at 11:15 pm | Reply Sam Juliano
  
  Yep Jaimie, wordpress is really doing a number on my weekly diary posts, doubling up on the links and retaining last week’s links that I had erased. I’m not sure what the problem is here. I’ll definitely be heading over your blog as soon as I respond to you here. I’m sure there are some very good and great Chilean film, but this one was cliche ridden. It was a gay-themed drama about a boxer, and the fellow who follows him. The relationship is rather awkward, and the film implies that only those who travel to Santiago can achieve some kind of acceptance. Are the country folk really that close-minded? Ha. i don’t think so.
  
  But the W. C. Fields Festival is almost to die for, and I will make at least 2 to 3 more visits. I have seen all the films numerous times, so I am not doing with this festival what I’ve done with a number of others; besides I have Tribeca in the mix until this coming Saturday. I even have a film tonight (with Lucille) called GONE. I will make sure you see those three Fields films very soon.
  
  I am sorry that presentation got “trashed” but I’m sure you will succeed on that front with repeated tries. I figured with Easter you’d be real busy, in view of your enrollment in the Catholic University. I understand the situation you are talking about there with the ducureality and of following someone. I know much of the hectic activities are a drag, but there’s a light at the end of the tunnel. Great to see you got in two days with the girlfriend, and made a comeback on Saturday with the film watching (a fact you demonstrate here on this post, subsequently) I know the editing you speak of does require time, so you have my full sympathies.
  
  I know other horror films with Bruce Campbell (he starred in ARMY OF DARKNESS I know) but I have not seen that one to this point. Your upgrade there says something though!
  
  I am sorry to say I haven’t seen the short Gilliam nor the Beastie Boys film, but much appreciate the capsules. I love Monty Python though, and if this is a preamble, then I would say it’s essential. I wouldn’t bother with that rock film, and I am pleased you strengthened that conviction! Ha!
  
  I like both of the Woodmans here, though like you, BULLETS OVER BROADWAY a bit more. Still, I’ve always thought MANHATTAN MURDER MYSTERY underestimated.
  
  THE MEANING OF LIFE is great, though my own favorite is the delightfully revolting segment on Mr. Creasote:
  
  As you know it’s a classic, and one of the funniest Python gags ever, even if as a whole you are probably right that the film is the wekest of the three.
  
  I saw your great review on NIGHT TRAIN TO MUNICH, and fully agree with your assessment.
  
  As far as the SCREAMS, this house was excited to see the new film, and typically it was well-liked by my SCREAM-loving brood. I can’t blame you for those summary judgements, as this series is generally well made.
  
  Have a great week my friend!!! Thanks again for the incomparable wrap!!!!
  - on April 27, 2011 at 4:13 pm mark s.
    
    Ay, Sam, the Mr. Creosote episode is my favorite scene in the entire Python ouevre! I laugh until the tears roll.
- on April 27, 2011 at 4:14 pm | Reply mark s.
  
  oeuvre
  - on April 27, 2011 at 5:08 pm Jaime Grijalba
    
    Le bucket pour le messieur.
on April 25, 2011 at 7:15 pm | Reply Drew

Sam, thanks as always for the kind mention. Fields is one I simply haven’t gotten around to yet, though I’ve always been interested. These films sound like a blast, and I think your enthusiasm has shot him up the list of directors I plan on delving into.
- on April 25, 2011 at 7:21 pm | Reply Drew
  
  Oh yes, and I also saw Scream 4 yesterday, which I was really disappointed by. I absolutely love the first, very much enjoy the second, and detest the third, and unfortunately my experience with the new one was closer to the experience I had with the third. The entire cutesy meta stuff is well worn out and into the ground by now, and it doesn’t even attempt to portray itself as a horror film, much like the third it has more in common with one of the Scary Movie parody movies than it does either of the first two Screams, which each found a nice balance between the humor and the genuinely unnerving.
- on April 26, 2011 at 11:23 pm | Reply Sam Juliano
  
  Drew: There is no question at all that you will adore Fields. I’d start off with the three masterpieces:
  
  It’s A Gift
  The Back Dick
  The Man on the Flying Trapeze
  
  But then:
  
  Never Give A Sucker an Even Break
  My Little Chickadee
  David Copperfield
  The Dentist
  The Fatal Glass of Beer
  The Gold Specialist
  
  and several others….
  
  I never even bothered with SCREAM 4, though as I mentioned to Jaimie, my family are franchise addicts. That said, I agree with you that the first two are decent enough, with further sequels eroding the general appeal.
  
  Many thanks as always my very good friend!
on April 25, 2011 at 9:32 pm | Reply Judy

Thanks very much for the kind mention, Sam! You’ve been amazingly busy, again. Must admit I haven’t managed to see much at all this week, but did have a second viewing of William Wyler’s ‘Counsellor at Law’, a brilliant legal drama starring John Barrymore, whose work I’m concentrating on at the moment, but also with other great performances – Isabel Jewell almost steals the show as the fast-talking switchboard operator.

I also watched the early 1930s British portmanteau drama ‘Friday the Thirteenth’, which Allan just reviewed here – fine stuff from music hall comedian Max Miller in particular. Thanks again, Sam!
- on April 25, 2011 at 9:37 pm | Reply wondersinthedark
  
  Oh yes, dear Isabel…”Simon and Tedesco. Who’s calling, please. Just one moment, please.”
- on April 26, 2011 at 10:46 pm | Reply Sam Juliano
  
  COUNSELLOR-AT-LAW is surely agreat one Judy, and it rewards repeat viewings as well as the best of em. And I would never fault you for wanting to explore Barrymore’s full screen output as he’s simply an acting legend. Yep, Jewell is terrrific too!
  
  I see Allan has joined in the fun in re: to FRIDAY THE THIRTEENTH, a great early work!
  
  I wish you a great week my friend! Many thanks!
on April 25, 2011 at 10:57 pm | Reply Sam Juliano

I have a number of great comments to address here from Samuel, Jaime, Terrill, Drew, Judy and Stephen Morton, but alas I am leaving the house for Tribeca. But tomorrow afternoon I will get to just about every one. Many thanks to all, and thanks for your anticipated understanding.
on April 26, 2011 at 2:10 am | Reply dennis

SCREW the new stuff. A W.C. Fields marathon on the big screen proves nothing could be better. To combat not being able to attend, I have lined up what I consider Fields 4 best films on DVD and brought them to work (dead night). Without hesitation, and although I love all of his films, I will unabashedly agree and confirm with Sam that IT’S A GIFT is the curmudgeon/drunk’s masterpiece. It’s economy, blazingly funny retorts and allowance of reality within the fabric of high comedy all spell out the work of a genius laugh maker. The search for Carl LaFong, Fields wrestling match with an out-door folding chair, Baby Leroy packing an ice-pick and a picnic repleat with Saltines and opening a can of stewed tomatoes with an ax are just some of many laugh out loud moments from a film that never ceases to tickle and capture new fans. For me, there was nobody funnier on screen after Chaplin and before Woody Allen than Fields.
- on April 26, 2011 at 11:32 pm | Reply Sam Juliano
  
  Dennis I completely agree with you on IT’S A GIFT, and have for many years shared laughs in discussions. Seeing it at the Film Forum this past week was one of the film highlights of the year. You did a great job there framing all the highlights too!
  
  Many thanks my great friend!
on April 27, 2011 at 3:51 am | Reply sachin

Thanks again for the kind mention Sam. I am looking forward to seeing more of your comments from Tribeca and which new films you discover.

I was a bit let down by A Screaming Man as well. Although I seem to have liked it slightly better. I had rated the film 7.5/10 but I cannot remember too much about the film, except the starting 10-15 minutes and the ending. I suppose that lapse in my memory may be an indication in itself 🙂
- on April 28, 2011 at 1:59 am | Reply Sam Juliano
  
  Hey Sachin:
  
  Actually I just got back in the house a little while ago from Tribeca, and have films lined up for the next three nights. I watched a 5:30 P.M. screening of the new Kathleen Turner movie “The Perfect Family.” I was expecting to hate it, but it wasn’t bad. Predictable, but well-developed characters with fine performances elevated it. Maybe 3 1/2 of 5.
  
  Yep, I see where you are coming from with A SCREAMING MAN. And yes, that memory lapse is telling. It’s intentions were noble, but the end result was rather stifling.
  
  Many thanks as always my very good friend!
on April 27, 2011 at 4:55 pm | Reply mark s.

Sam, still working through the treasure trove of DVDs.
While watching Arthur Penn’s ‘Alice’s Restaurant’ a couple of thoughts occurred. First, how the subject of Vietnam runs obliquely through the three films Penn directed between 1967 and 1970. The Depression-era crime spree of ‘Bonnie and Clyde’ can be taken as an analogue to the social violence of 1960s America which had roots in the Vietnam conflict and also in domestic social inequalities (the Barrow gang identifies with the dispossessed, who in turn elevate them to folk hero status). And if the carnage that ends the film reminds audiences of the JFK assassination, so much the better.
In interviews, Penn has said he wanted to make a film as much about the 60s and it was about the 30s.
Three years later the massacres of Native-American tribes in ‘Little Big Man’ can be read as code for My Lai and US ‘genocidal’ actions in SE Asia –White Man taking Manifest Destiny across the Pacific into the jungles of Vietnam and Cambodia. Of course there’s more to ‘Little Big Man’ than the theme of 19th and 20th century American bloodthirst, but the national trauma of Vietnam is still a subtext for a tall tale, often humorous, of our Wild West frontier shoot-’em-up days. And if audiences miss the political undertones, it really doesn’t matter because ‘Bonnie and Clyde’ and ‘Little Big Man’ are rich entertainments even without the past-present parallels thickly laid on.
In ‘Alice’s Restaurant’ Penn dispenses with buried political analogies and places the Vietnam folly front and center in the form of the Draft. Guthrie’s ‘Alice’s Restaurant Massacree’ talking poem is an antiwar, anti-draft ballad that makes a mockery of draft boards, physical and mental exams and ‘moral desirability-fitness’ jokes on the Army. Significantly, Arlo is also given a beautiful Asian girlfriend, the beautiful actress Tina Chen, to remind audiences that Vietnam had a racial component too. And the effect Guthrie’s long hair has on more staid types becomes a running joke, as does his sexual irresistibility to all the women, girls and groupies he encounters along the way (Guthrie isn’t exactly a portrait of male pulchritude).
Secondly, watching the scene of the drug addict’s burial made me think of Emerson and his younger friend Thoreau, especially Emerson’s funeral eulogy to Thoreau, who never never drank, smoked or had any other vices, by the way. In that eulogy Emerson recalls Thoreau’s refusal to pay taxes and his night in jail for his opposition to the Mexican war of 1846-1848. By contrast Guthrie’s anti-Vietnam stance is just a joke, an amusing platitude. He never becomes a conscientious objector and avoids the service on a goofy littering misdemeanor (the ‘Alice’s Restaurant Massacree’) that gets him arrested and thus deemed ‘morally unfit’ for military service. It’s an example of why the hippie phenomenon and its ethos borrowed from Thoreau and others has always struck me as slightly bogus, selfish and politically naive. Once the Draft ended the war protests evaporated.
The middle-aged Penn seems to fall hard for the sentimental folk whimsy of the youth counterculture. ‘Alice’ feels like a sweetly sad digression between the two big, acute social statements of ‘Bonnie and Clyde’ and ‘Little Big Man.’ Still it’s a pleasant little film and I’m glad I saw it. And the hippie burial in the snowstorm takes your breath away with its beauty.
- on April 28, 2011 at 2:35 am | Reply Sam Juliano
  
  Once again you grace this thread with one of your ever-thoughtful comments Mark, one that requires pondering before responding to. Well, I’ve seen all three films you examine and compare here, and in fact own them on DVD and have seen them multiple times. You pose a very persuasive theory there concerning ALICE’S RESTAURANT as a “sweetly sad digression” between the “two, acute social statements” – BONNIE AND CLYDE and LITTLE BIG MAN. That was a wonderful segue into the point of reference of Emerson and his eulogy to Thoreau as well in regards to the drug addict’s burial; also in making that persuasive argument that ALICE’S Vietnam protest underpinning lacks any meaningful staying power. Again I have to side with you.
  
  Fascinating connection between LITTLE BIG MAN and My Lai and US genoside in Southeast Asia, and of course the astute comparison of the depression era crime spree of BONNIE AND CLYDE with the social unrest of the 60’s.
  
  Great idea to parlay your viewing of ALICE’S RESTAURANT into a meaningful discussion of Penn’s 60’s cinema.
  
  As always, it’s a real treat to have you here Mark.
  - on April 29, 2011 at 7:23 pm mark s.
    
    Well, I love Penn’s work of the late 60s.
    I was wondering, Sam, if you’ve seen his earlier “The Left-Handed Gun” with Paul Newman? I’ve never seen it, though its reputation is strong. Penn always did have a gift for unsettling depictions of violence.
  - on April 29, 2011 at 7:47 pm Jamie
    
    Mark S, I think if you’re interested in Penn the book ‘Cinema of Loneliness’ would be a great find. Kolker (I think that’s his name off hand) dissects 5 American filmmakers (Penn, Scorsese, Coppola, Kubrick, Spielberg) with each getting it’s own chapter. It’s a great book for all the things your talking about here, and actually newer additions of the book he’s updated Penn’s career by moving into a comparison and overview of Oliver Stone’s career who he argues has moved in much the same territory while Penn has ceased working largely. It’s one of my favorite film books actually.
    
    LEFT HANDED GUN is definitely worthwhile for Penn and Newman fans, some real nice moments in there.
  - on April 29, 2011 at 8:49 pm Sam Juliano
    
    Mark: I know of THE LEFT-HANDED GUN of course, but I have not seen it. Seems like Jamie is strongly promoting it and that most interesting Penn book! Thanks again my friend.

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