Classic British satire "Went the Day Well?" ran at Film Forum for two weeks
by Sam Juliano
It’s looking and feeling more and more like summer out there, and soon a number of us will be begging for the cold again. Such is weather’s take on the “What have you done for me today?” philosophy. You know the dog days are here too when you see the sequels appearing in multiplexes, the latest of which is the third installment in the X Men saga. Here at Wonders in the Dark, discussion was at it’s zenith this past week under The Tree of Life thread, where commenters wrestles each other on their own views of the long-anticipated film and Terrence Malick’s career. To boot, a passionate discussion erupted on individual beliefs and religious doctrine. Yep, here at WitD there’s almost something sizzling, even when summer isn’t part of the mix. With the musicals countdown slated for August, there will be two months of free-wheeling here, and the much cherished continuations of Jim Clark’s essays, Allan’s “Fish Obscuro” series, Jamie’s “Getting Over the Beatles” project, and Bob Clark and Jaime Grijalba’s continuing dissection of anime. The site’s look continues to evolve thanks to the remarkable work by Dee Dee. Her sidebar updates have focused on movies from all angls and places. Good luck to John Greco on the sale of his photography at his new sites, which will very soon be added to the blog links.
This week (shortened to six days because of last week’s Tuesday overlap) allowed for the viewing of one interactive stage play, one war years British film classic, and three new openings, including two rare multiplex appearances with the family.
The stage play H4 utilyzes television segments aired on the background movie screen to tell the story of the Bard’s Henry the Fourth parts I & II and it’s connection and relevency to today’s governments. It’s a noble attempt, but it loses steam and gets lost in all kinds of dramatic convolution and careless integration. In Theatre Row’s Clerman Theatre which seats 60, there were about 17 people in the audience on a primetime Saturday evening spot. That pretty much tells where this one is going as per word of mouth, and the reviews have been practically non-existent. I wish this company well, and lament the missed chance here with some obviously great material. Some of the performances were fairly good, and the duel scene was well choreographed.
On movie screens I saw the following, some with Lucille and the kids:
Film Socialism * (Friday night) IFC Film Center
Bridesmaids **** (Sunday afternoon) Edgewater Multiplex
X Men: First Class ** (Friday sfternoon) Edgewater Multiplex
Went the Day Well? **** 1/2 (Thursday night) Film Forum
I have posted a full review of the incoherent FILM SOCIALISM and Godard’s cinema above the diary so I’ll leave it at that. The lastest X MEN installemnt is pretty much the same old nonsence, though it was nice having James McAvoy along for the ride. The 1940’s British satire WENT THE DAY WELL? was a true glory in its remastered state at the Film Forum, and the upcoming blu-ray of this often hilarious Grahame Green adaptation is an essential for movie fans. I was delighted with BRIDESMAIDS, though I was alerted of the solidity of this wedding comedy by my friends Pat Perry and Craig Kennedy, both who penned terrific reviews about a week ago. Loved the Brazilian bar poisoning and the ‘get the attention of the cop’ sequences, but there’s so much more, and the acting is wonderful.
Just a few eeks ago Roderick Heath penned an incredible review of Went the Day Well? at Ferdy-on-Films:
http://www.ferdyonfilms.com/?p=9900
Here are the offered 44 links for this week:
Briton Judy Geater continues to treat the blogosphere to top rank reviews of fascinating subjects and her latest treatment of a William Wellman film (1939’s Beau Geste) is a Movie Classics masterpiece: http://movieclassics.wordpress.com/2011/06/05/beau-geste-william-a-wellman1939/
At Ferdy on Films, Down Under’s most justly acclaimed film critic, Roderick Heath, has penned a Hall of Fame essay (take a look!) on Wajda’s A Generation: http://www.ferdyonfilms.com/?p=10102
As always the inspiring and resourceful Laurie Buchanan offers up another metaphor (the butterfly) to allow us to engage our own stage of development at Speaking From The Heart: http://holessence.wordpress.com/2011/06/02/dance-of-the-butterfly/
Jason Marshall has written a review for the ages in proclaiming at Movie Classics that Terrence Malick’s The Tree of Life is a masterpieces and one of the greatest films in years: http://moviesovermatter.com/2011/06/05/%e2%80%9ctell-us-a-story-from-before-we-can-remember%e2%80%a6%e2%80%9d-terrence-malick%e2%80%99s-%e2%80%9cthe-tree-of-life%e2%80%9d/
Indian culture mavens take note! At Kaleem Hasan’s spectacularly popular home from Indian film, music and politics, the lead post, featuring a you tube of the song “Bduddah Hoga Terra Baap” has attracted almost 300 comments! But the site performed as well on many occasions. Congrats Kaleem!: http://satyamshot.wordpress.com/2011/06/05/bbuddah-hoga-terra-baap-trailers/
And Hasan himself has penned a superlative review of the Indian film Dum Maaro Dum: http://satyamshot.wordpress.com/2011/04/28/specters-of-dum-maaro-du
John Greco’s “An Evening with Al Pacino” is one of those features that’s a joy in every sense. It’s leading up at Twenty Four Frames: http://twentyfourframes.wordpress.com/2011/06/03/an-evening-with-al-pacino-2/
Meanwhile, John’s beautiful new ‘photography’ website is up and running: http://johngrecophotography.com/
Jaime Grijalba has authored a magnificent feature on the film and novel of Never Let Me Go by Kazuo Ishiguro at Exodus: 8:2: http://exodus8-2.blogspot.com/2011/06/never-let-me-go-2010.html
At Doodad Kind of Town Pat Perry of musical countdown fame (and other ‘fames’ too!) has been on a roll again, and her superlative review of Morning Glory follows up on the heels of a great one last week on Bridesmaids: http://doodadkindoftown.blogspot.com/2011/06/on-home-screen-morning-glory.html
The ever affable Srikanth Scrivasson (Just Another Film Buff) has posted the rare Hollywood review, a terrific capsule on Unknown at The Seventh Art: http://theseventhart.info/2011/06/04/ellipsis-41/
Wonders in the Dark readers by now have surely seen and accessed Tony d’Ambra’s collection of poems and prose, Cinematic Poetica, a new volume available at areasonable price, featured on the sidebar. For those who have been ravished by the works as they appeared over the past two years, here’s the chance to own the entire sensory collection in a beautifully ornate booklet: https://www.lulu.com/commerce/index.php?fBuyContent=10534204
At Mondo 70 Samuel Wilson offers up a typically excellent essay on Montana Belle: http://mondo70.blogspot.com/2011/06/montana-belle-1948-1952.html\
Director and film fan Jeffrey Goodman offers up Part 11 of his film round-up with four terrific capsules on recently-viewed films. At The Last Lullaby he’s particularly impressed by Charles Ferguson’s Inside Job and a Beastie Boys film: http://cahierspositif.blogspot.com/
Stephen Russell-Gebbett offers up another fascinating post at Checking on my Sausages, this time on the ‘degrees of complication’ in the orchestration of action scenes in the cinema: http://checkingonmysausages.blogspot.com/2011/05/action-scenes-levels-of-complication.html
Dee Dee’s latest contest (advertised here at WitD) can be accessed and negotiated at her place, Darkness Into Light: http://noirishcity.blogspot.com/
At From the Front Row Matthew Lucas has issued a brilliant and scathing condemnation of Godard’s Film Socialism: http://fromthefrontrow.blogspot.com/2011/06/review-film-socialisme.html
Our friend in Tokyo, Murderous Ink, has authored another revelatory essay in his Kurosawa series on the early-career classic Stray Dog: http://vermillionandonenights.blogspot.com/2011/05/postwar-kurosawa-stray-dog.html
The effervescent artist Terrill Welch offers up a rare, reflective Sunday morning post at the Creativepotager blogsite: http://creativepotager.wordpress.com/2011/06/05/sunday-morning/
Ed Howard has made a significant addition to his stellar series on Olivier Assayas with a scholarly treatise on Cold Water at Only the Cinema: http://seul-le-cinema.blogspot.com/2011/06/cold-water.html
The fecund film scholar “Jean” has penned an extraordinary review of the Isreali film Late Marriage which demands attention from all cineastes at Velvety Blackness: http://velvetyblackness.blogspot.com/2011/06/late-marriage.html
At Patricia’s Wisdom, Pat has posted an an engaging feature on the “social animal” David Brooks: http://patriciaswisdom.com/2011/06/the-social-animal-the-hidden-source-of-love-character-and-achievement-david-brooks/
At The Schleicher Spin, David has posted an excellent book review of Graham Joyce’s The Silent Land: http://theschleicherspin.com/2011/06/02/the-silent-land/
Peter Lenihan offers up his brilliant ‘initial thoughts’ on The Tree of Life at The Long Voyage Home that are essential reading: http://thelongvoyagehome.blogspot.com/2011/06/thats-where-god-lives-initial-thoughts.html?showComment=1307331158488#c8169960984816827293
Longman Oz is back! Yes indeed! And his latest, a thoughtful and candid assessment of Tom McCarthy’s Win Win is leading up at his place: http://smiledyawnednodded.com/2011/06/06/win-win-2011-a-film-review/
Shubhajit’s latest is a terrific capsule on Francois Truffaut’s 1962 feature The Soft Skin at Cinemascope: http://cliched-monologues.blogspot.com/2011/06/soft-skin-1964.html
Troy Olson has an assortment of posts leading up at his place on live basketball blogging, a new record club and the most recent Bresson reviews: http://troyolson.blogspot.com/
Craig Kennedy has penned an outstanding piece on the new film Beginners with Christopher Plummer at Living in Cinema: http://livingincinema.com/2011/06/04/review-beginners-2011-12/
Jon has posted a wonderful review of Louis Malle’s early-career The Lovers at Films Worth Watching: http://filmsworthwatching.blogspot.com/2011/06/lovers-les-amantes-1958-directed-by.html
At Little Worlds a wholly ecstatic Hokahey (David Bellamy) has penned a magnificent and personal review of Terrence Malick’s The Tree of Life: http://hokahey-littleworlds.blogspot.com/2011/05/t-shirts-blue-jeans-creation-universe.html
At This Island Rod writer extraordinaire Roderick Heath takes on the 1976 version of King Kong, directed by John Guillerman: http://thisislandrod.blogspot.com/2011/05/king-kong-1976.html
At The Blue Vial Drew McIntosh has a sumptuous display of images up from Jacques Tourneur’s 1951 “Anne of the Indies”: http://thebluevial.blogspot.com/2011/05/great-performances-jean-peters-in-anne.html
Soccer fans will be thrilled to know that Sanchin Gandhi is far more than just an ardent film fan, when they venture over to Scribbles and Ramblings where an amazing sports post leads up: http://likhna.blogspot.com/2011/05/2011-champions-league-final.html
At The Cooler Jason Bellamy links up to the incomparable new Conversations entry with a dialogue with Ed Howard on Terrence Malick’s first four films: http://coolercinema.blogspot.com/2011/05/conversations-terrence-malick-part-i.html
At Hugo Stiglitz Makes Movies Kevin Olson is honored to post teh second presentation in the “record club” initiated by Ed Howard: http://kolson-kevinsblog.blogspot.com/2011/05/record-club-2-brand-new.html
At The Movie Projector R.D. Finch has posted the fourth installment of his fabulous “The Films of Katherine Hepburn and Spencer Tracy” series: http://themovieprojector.blogspot.com/2011/05/films-of-spencer-tracy-and-katharine_30.html
Michael Harford, a.k.a. the Coffee Messiah has been briefly on sabatical, but his famed blog is always a place to visit again and again: http://coffeemessiah.blogspot.com/2011/05/another-day.html
Slant writer extraordinaire John Lanthier likens A Serbian Film to a “transgressive” experience, awarding it 3 out of 4 stars at Aspiring Sellout: http://livingincinema.com/2011/05/14/review-a-serbian-film-2011/
Dave Van Poppel has some great documentary capsules from the Toronto Film Festivals posting at his place: http://visionsofnonfiction.blogspot.com/2011/05/hot-docs-2011-we-were-here.html
Jeopardy Girl asks her readers “What’s Good?” at her place this week in an ever-thoughtful post: http://jeopardygirl.wordpress.com/2011/05/16/whats-good/
J.D. has penned a terrific review of Sean Penn’s directorial debut The Indian Runner at Radiator Heaven: http://rheaven.blogspot.com/2011/05/indian-runner.html
Film Doctor has written up a glorious dismissal of the newest Pirates of the Caribbean installment at his place: http://filmdr.blogspot.com/2011/05/once-again-to-brig-pirates-of-caribbean.html
And then Jake Cole, writer extraordinaire, takes on the film at his film altar, Not Just Movies: http://armchairc.blogspot.com/2011/05/pirates-of-caribbean-on-stranger–tides.html
Click on names for archives
Writers/Founders
Wonders in the Dark 
I know the conversation here is going to be dominated by the Godard Wars soon enough, so instead I’ll focus on the other big release of this weekend. Frankly, I thought “First Class” was easily the best of the “X-Men” movies so far, primarily because it’s the only one of them that wasn’t afraid to actually be an “X-Men” movie. Bryan Singer’s two films were good introductions, and rightfully made Hugh Jackman a star with his turn as Wolverine, a character I’d always thought was rather overused and played out in the Marvel Universe, but really came alive with that song-and-dance-man in the role. But Singer’s vision was a bit too rooted to realism and reigned itself in from committing to the over-the-top scale and scope the material demands– yes, in the first one it helps ground all of the mutants and help make their social plight feel all the more relatable, but things just don’t escalate enough in the second to feel worth the while.
The third made some leaps and strides in the right direction after moving away from Singer, and even had a great lynchpin plot device with the “cure” for mutant-genes (paralleling with all those awful bigots who want to isolate and eradicate the gene for homosexuality– and to give credit where credit’s due, I think Joss Whedon dreamed that up in the comics), but it wound up botching the story by killing off too many main characters seemingly just to give Halle Bery more breathing room (really, she was always an awful choice for Storm, far too young, not enough maturity) just when the story needed them most. Getting rid of Cyclops right at the peak of the Dark Phoenix story just to give in to fanboy dreams by making Wolverine and Jean a tragic love story (yeah, I know Claremont’s been doing that in his “X-Men Forever” line, but it’s a stupid, pandering move there, too) is just wrong, especially because we never got a chance to see ol’ Scott Summers use his optic-beam in an action sequence that was worth a damn. Really, “X3” is a wasted opportunity, and probably would’ve been okay had the original director been there to finish what he started with the script, storyboards and casting (seriously, Dr. Fraiser Crane as Hank “Beast” McCoy? Inspired).
The original director of that third movie was Matthew Vaughn, by the way, who wound up directing “First Class”, and by god does it show. I can’t really believe the potent mix of obscurities from across the board of X-Continuity and how it’s resonated with the audiences I’ve seen it in. There’s a lot of dense stuff from the comics being condensed here into a mere two hours and fifteen minutes– the origins and friendship of Professor X and Magneto, the Machiavellian conspiracies of Sebastian Shaw and the Hellfire Club, the question of mutant-rights in the face of increasing hostility from human society, all against the backdrop of the United States and the Soviet Union facing off in the Cuban Missile Crisis. The action is big, bold, imaginatively concieved and executed with absolute style and clarity. The direction is period-perfect, recreating the 60’s splash of the Bond films in ways that resonate beyond mere pastiche. I’ll admit that some of the acting isn’t quite on par (Fassbender as young Magneto is good when he’s hamming it up in French, Spanish or German, but a dreadful monotone bore when he speaks in English, especially when he’s saddled with manifesto-monologues that only Sir Ian could’ve done justice) and that the story tries to condense a wee bit too much of the “X-Men” canon into one film (Did we really need to see Erik turn to the dark side or Charles take to his wheelchair this soon? Couldn’t that have waited for the inevitable second or third part of what will likely be a new trilogy?) but all in all this was an immensely enjoyable and rewarding bit of high-concept Hollywood entertainment.
Mutant and proud.
Bob: Again I commend you for your resiliences and special talent for providing ample evidence for your embrace of certain forms. I wasn’t much of a fan of this film, but it didn’t escape my eyes that it received strong reviews, and many like you are proclaiming it the best of the series. I like your proposal that it “isn’t afraid of being an X MEN film” and your righful acknowledgement that quite a bit is condenced into the running time. The director also helmed KICK ASS a multiplex film I kinda liked.
Thanks as always my friend!
The ‘mutant but proud’ end coda there is terrific!
Wow, I was just getting ready to turn off the computer and up popped your new post…I was excited to read all your reviews and updates and see I have another long list of folks to visit in your reviews.
Thank you for the shout out – I think Brooks TED lecture and book are way on the top of the list…amazing work and very helpful to teachers, counselors and parents of what to watch out for…and then it is written with a story within!
We had sunshine for 2 days in a row and so we got out the paint brushes and got 1/4 of the house and deck all beautiful for our Danish company’s arrival. Now the rain is due back…and we had other visitors in the wee hours…the deer feasted on our tomato plants and stunning columbine – making the yard look bleak and just green – I think we have such a herd that we are going to lose 2 of our 100 year old apple trees to their taste buds…and we live nearly right down town.
I wanted to see Bridesmaids and it was in town this week, but dry days – need to paint
I have decided to create my own film festival. My partner is riding his bicycle from the Canadian Border to the Mexico Border in August and September through the Cascade Mountain passes ( just to make it more challenging!) and so I am going to create a film festival for myself…a movie a day….I think I will start with Meryl Streep movies, but I am open to suggestions….I have certainly missed hundreds of good movies over the years – living in this small city and certainly before DVDs and computer connections.
We also had to fight with the Catholic Church that controlled many of the movies playing here…No West Side Story…
Now I had best turn off the computer – so I can wander about your links tomorrow and see what is current. Thanks for sharing
“We also had to fight with the Catholic Church that controlled many of the movies playing here…No West Side Story…”
Hi Patricia. I am from Ireland and this happens to be an area of real interest for me, so I would love to enter into some correspondence with you on it. I am sure that Sam will facilitate an email introduction, if that would be of interest to you too. Cheers.
patricia at patriciaswisdom dot com
is where you will find me… our town is a bit interesting in many ways but the church wars have made a mark. In the early years it was the catholic church that impacted me – I grew up Congregationalist/Presbyterian, the second round was the Mormon attempt at control ( which is still working on it – as they are still adopting all the Native American children they are able and having at least 5 of their own) and now the Conservative 4 Square Tea Party folks are working at control…
The other side of the fence is the uber environmentalists – Independent folks – the hippies who grew up! They are quite willing to drive to the next big city with an Art’s theater to see a movie…:)
……the deer feasted on our tomato plants and stunning columbine – making the yard look bleak and just green – I think we have such a herd that we are going to lose 2 of our 100 year old apple trees to their taste buds…and we live nearly right down town….
Gosh Patricia! I believe you said you live in rural Ohio is I am not mistaken! The deer can certainly wreck havoc, and the potential loss of that apple tree is very depressing. I am not sure what the general practice is to make these aread deer-free, but my sentiments are split, since I am an animal lover. (we have two labs, a pug, two cats and two parrots in this house presently along with our five kids! Ha!) But something has to be done. Any suggestions here from anyone?
The weather has really heated up in these parts, and we have a scorcher promised for tomorrow (95 degrees) I’m happy to hear that the sunshine allowed you to paint for teh arrival of your guests.
I do hope you can see BRIDESMAIDS. It really it well-done and quite funny. The reviews were actually quite excellent pretty much across the board. The ‘chick flick’ label is very misleading. Heck my 11 year-old son Danny loved it and laughed almost constantly (I did have to insist he turn away from the screen though for the opening scene).
The film festival idea is fantastic. I’ll have to think of some suggestions for you. I am dismayed to hear about the Catholic Church censorships (and West Side Story, one of my favorite films ever??) I am Catholic, and Lucille and I have brought up our kids as Catholics with all the sacraments, but I almost am never at any mass other than a wedding or funeral. Their primitive decrees are a complete turn off. Hope you and Longman can connect in a meaningful discussion.
Thanks again my very good friend! Have a great week!
I live the in the Capital City of the State of Washington – but did do high school in Cleveland Ohio. the deer are nearly overwhelming this year…we have deer fencing up now, but they are just working through the neighborhood…I think they State Ranger’s may come and tranquilize them and move them back up to Mt. Rainier area – the snow packs are so heavy that maybe why they are coming down.
Have not written back to Longman – yet…working hard at Wise Ears this week….I made my first $10 listening to a young man read for 30 minutes a day – To Kill a Mockingbird…I think after camp he will be back as a client…
Thanks for your reply…lots of animals and kids…. good fit…
I just heard that Bridesmaids maybe be playing about 30 minutes drive from here…gonna try….hate to go alone but maybe have to I want to laugh and see it
the state of Washington?
Well that’s certainly not Ohio! Ha!
Patricia, have you ever read Marjorie Kinnan Rawling’s THE YEARLING, or have you watched Clarence Brown’s 40’s Hollywood adaptation with Gregory Peck and Claude Jarman? I immediately thought of this when reading about the deer problems.
That’s a real treat to hear that reading of TO KILL A MOCKINGBIRD!
I do hope you get to BRIDESMAIDS.
A chasm is developing amongst the Wonders glitterati, and this says it all:
Film Socialism * (Friday night) IFC Film Center
Bridesmaids **** (Sunday afternoon) Edgewater Multiplex
I would’ve put Film Socialisme and X-Men: First Class both at about *** 1/2, myself. Where does that put me?
On incredibly even stable ground.
There’s a first.
Hey Bob is Nightcrawler in X-Men First Class? I remember watching the first two films years ago, and considered him the best character in either movie (the first one could of used him). I wasn’t a particularly big fan of the series and I never bothered watching the third installment when it was released due to his absence. If he is featured I may watch it on Netflix, otherwise I’ll slot it in my ignore column with anything from old man Godard.
Maurizio I find it interesting that in your music tastes that I know you take risks and desire to be challenged, but in film you side with neanderthal hyperbolic populism some times (and once is too much for my tastes). I mean, you don’t like Godard– what you’ve seen– but damn, if I said the quick write offs you do about him about your experimental/experimental mood music recommendations I’d be looked at like a simpleton. Like a regular ol’ Britney Spears fan.
Mauriz, he isn’t in it, but there is a red teleporter on the side of the Hellfire Club, trying to kick-start World War III. So, think of it as having Nightcrawler as a bad guy.
Ah but Jamie I never said anything about hating all of Godard. I just view the post Weekend stuff that I have seen as being similar to The Stones after Exile On Main Street. A talent in freefall decline. There is nothing crazy about such an opinion and it is consistent with my views on music as well. I will not blindly follow an artist I admire once they lose me in the land of mediocrity. I loved the Band’s first two albums, but find little of worth after. Even with Arvo Part…. I tend to have less admiration for his later vocal stuff when compared to the instrumental/tintinnabuli pieces (though I do not outright reject them). Godard is a great filmmaker up until the late 60’s (though one or two from the seventies aren’t bad), but find his self conscious later work disposable.
Even challenging Avant Garde artists like Throbbing Gristle and Nurse With Wound get met with that kind of critical eye if I find their work uninspiring. I refuse to be loyal to artists like some sheep dog.
Again, jesus don’t paint with such broad strokes. No one is a blind sheep dog to follow Godard post-WEEKEND. Essentially you’re saying there isn’t one good film in the FORTY SEVEN THAT FOLLOWED (seriously I counted)? That’s asinine. There are at least 3-5 masterpieces in there.
And even what you do say above it’s quite a bit more substantial then saying his films are worse then having a root canal. Trying to be funny sure, but again I don’t think you’d appreciate art you like having this worthless a statement, and an even more worthless reading.
I suppose it’s were I split from most, I’m not a sheep dog, but I’m also not someone who is going to trash another’s hard work (and not to mention intellectual sweat as Godard is a serious mind in our time) with such quick and reckless abandon.
Jamie, you wrote off Redford’s THE CONSPIRATOR with wreckless abandon, no?
LOL!!!!!!!!!!!!!!!
Yes in my opinion there is not one masterpiece among those post 70’s films that I have seen. Am I entitled to my belief please?
Talking about broad strokes… you do that all the time with Pixar (something I actually agree with you on), but still the black kettle and glasshouse await you.
The root canal quote was clearly a joke, but someone as humorless and filled with hot air as you is expected to get offended. My statement may be worthless but no more than your increasing troll like biting at my ankles after every post.
I brush you off with the broadest of strokes Mr Uhler.
I also do not see a single Godard masterpiece in the past 35 years.
“The root canal quote was clearly a joke, but someone as humorless and filled with hot air as you is expected to get offended. My statement may be worthless but no more than your increasing troll like biting at my ankles after every post.
I brush you off with the broadest of strokes Mr Uhler.”
Nice!
“And even what you do say above it’s quite a bit more substantial then saying his films are worse then having a root canal. Trying to be funny sure, but again I don’t think you’d appreciate art you like having this worthless a statement, and an even more worthless reading.”
Reading comprehension truly is fundamental, and a lost art apparently.
Sam,
I’d like to hear your take on ‘Every Man For Himself’ some day.
“Jamie, you wrote off Redford’s THE CONSPIRATOR with wreckless abandon, no?”
No I did not. I offered several thoughts on it (as you have with this Godard, keep in mind I’m not saying you have written of this Godard or any with wreckless abandon), if I would have said something as glib as ‘THE CONSPIRATOR’ is a worst use of time then jerking off twice’ then you’d have a point. Maurizio was the ‘wreckless abandon-er’ in his comment, which I’d have seen as humor had it actually contained humor.
Mark S, I don’t think he’s seen it.
You probably see humor the same way Sarah Palin sees American Revolutionary War history.
Now Palin doing American History that’s humor.
I must also concede that nothing I say could be as funny as that Paul Revere clip.
Wow, Sam. Henry IV (Part I) is one of my all-time favourite Shakespearean plays, not least due to that villainous abominable misleader of youth, Falstaff, that old white-bearded Satan! Yet I have never seen the play performed. Equally, it is not one that enjoys anything like the instant name recognition of Shakespeare’s principal tragedies and comedies, so it really was down to the theatre’s marketing people to pitch this one hard.
Was there anything particularly noteworthy about this production or was it of the more common-or-garden variety?
Finally, un tout grand merci for the unwavering support of SYN through the occasionally thick and mostly thin times that it lives in.
Longman:
HENRY THE FOURTH PART I is also a favorite, and I was hoping it’s best aspects (Falstaff especially) would spill over into this hybrid production of form and abridged narrative. Some ideas (like the background stage screen with the excerpts from BBC news broadcasts in the UK that featured some interviews with political figures) were well incorporated, but the production was all over the map, never allowing for emotional connection or focus. The concept was a one that could have inspired a better product, but as always it was sparcely-funded and supported, and only the actors were able to infuse it with some spark, especially as expected the one who played Falstaff. As I stated, it played to a mostly-empty theatre on a Saturday night (traditionally the most well-attended of any weekly show) which is a tell-tale sign of the public response. Lucilel and I noticed that about a half-dozen people never returned after the intermission to boot. Ugh.
I’m sure you’ll get SYN back in form in no time!
Thanks as always my excellent friend!
Sam, thanks so much for the wonderful mention.
You know I’m a fan of Godard, but that latest is one I still need to see. I’ll report back as soon as I catch it.
This weekend was great for all tennis fans as the Federer-Djokovic semifinal in Paris will go down as one for the ages. And yesterday’s final will also be a highlight for years to come.
This week I saw DAISIES, LE DEUXIEME SOUFFLE, A MAN FOR ALL SEASONS, THE BATTLE OF ALGIERS, and THE SQUARE. I was happy to see them all, but I was probably most enthralled by a few of the action sequences in the Pontecorvo film. He’s able to make a couple of them feel so real they’re almost overwhelming to watch.
Here’s to another awesome week, Sam. Thanks so much for all that you do!
Ah Jeffrey, it’s been a tough two days here, and I’m wondering if it would have been better to hold back any comments on FILM SOCIALISM other than just a brief snippet on the Diary. I admit I may have compromised some of my intentions at the site, but at the same timeI was surprised to see a number of viewers expressed similar problems. I still greatly admire the Godard cinema in the glory years, films like BREATHLESS, WEEKEND, PIERROT LE FOU, CONTEMPT and a few others, but the later Godard has left me cold and bored. I do know you count him as one of your favorites, but surely for the earlier period, especially. I furthermore know you saw some of his films in Paris theatres.
BATTLE OF ALGIERS would also be my own #1 choice here Jeffrey; it is the ultimate resistence fighter film, as vivid and harrowing a film on this subject that has ever been made. I see a blu-ray is now being planned by Criterion. I like all the other films you saw, having A MAN FOR ALL SEASONS as the runner-up after the Pontecorvo. (Paul Scofield was truly remarkable in the lead, but what a cast and screenplay adapatation from the play!) DAISIES is a terrific Eastern European work, and LES DEUXIEME SOUFFLE is fine second-tier Melville. THE SQUARE is an engrossing Australian noir from a few years back that I promoted on the Diary.
Thanks again Jeffrey for the great round-up, exceedingly kind words and your own very singular commitment to cinema from all angles!
Thanks for the double shot of attention Sam. From Godard to Bridesmaids is quite a stretch, then again, that is the joy of film. My week consisted of continuing to work on my new website and other aspects of the related work. I hope to have matted prints available within the next week or so. If all goes according to my plan, Wednesday evening I will be heading down the Tampa to catch a showing of Ric Burns documentary on Ansel Adams at the Florida Museum of Photographic Arts. Adams work is awe-inspiring, humbling and majestic.
On the movie front, not too much, only two films and both were rather mediocre though the John Wayne flick was an interesting mix of old fashion Duke and the then (1971) new western of Sam Peckinpah.
Big Jake (***) a decent enough if strange combination of a western, better than some of the other trash Wayne’s final decade consisted of (He did finish on a high note with THE SHOOTIST). The first 17 minutes are a well executed, visually stunning, opening sequence cumulating in a violent bloodbath worthy of Sam Peckinpah. Made in 1971, the film is an odd concoction of a home movie (Wayne’s son Patrick and Grandson Ethan are in the film while another son Michael produced it) and ole’ Sam Peck whose influence is painted all over the film as much as Wayne’s (George Sherman directed but Wayne supposedly took over when Sherman’s health failed). It’s 1909, and the west is coming to a close, the same era old Sam explored in “The Wild Bunch” and “The Ballad of Cable Hogue.” Modern America, represented by guns with clips, automobiles, motorcycles and dainty Eastern ladies clashing with the old fashion values of the wild west, sheep farmers versus cattlemen, hangings and whores. Richard Boone steals the acting awards while the vote for worst cast member is a tossup between Patrick Wayne, Chris Mitchum and Bobby Vinton! Maureen O’Hara is wasted in a small role.
Witness to Murder (**) I can watch Barbara Stanwyck in anything. That said this is overall a disappointing thriller with too many far-fetched situations to buy into. The killer is made known right at the beginning so there is little tension for the remaining 90 minutes or so. George Sanders is diabolically nasty as a former Nazi and killer, while Gary Merrill as the investigating officer/love interest for Stanwyck is effectively limp as is most of the film.
Indeed John! FILM SOCIALISM to BRIDESMAIDS represents polar opposites in every sense imaginable.
I am still checking the possibilities at your photography site, and wil await the final touches. Wow, that Ric Burns Adams work sounds great indeed!!! I’m sure they’ll be a full report at TWENTY FOUR FRAMES! I know both films you astutely report on here quite well and am basically in full agreement with your rating, perhaps liking BIG JAKE even a bit less. But again, super capsule assessments!
You have a busy week ahead of you John! (you and Dorothy of course) I look foprward to reading about it.
Thanks as always my great friend!
Does anyone know if JAIME GRIJALBA is OK????
I don’t know what part of Chile he lives in but I just read about that 7 mile high Volcanic ash cloud hovering over the southern part of the country and I immediately thought of our friend.
Please chime in JAIME if you can!!!!!!!
Anyone else here know anything about the state of things in Chile????
I’m Ok guys, I’m Ok, thanks for the preocupation.
I live in the capital, a bit far away from the volcano and its deadly ash, but anyway there have been evacuations and at the present time there has been no problems at all regarding the people that lived near there.
Thanks for the preocupation guys (specially you Dennis)
WHEW!!!!!!!
🙂
Sam –
Thanks for the shout out!
I’m so glad that you loved “Bridesmaids.” I consider it my personal mission to get all the smart bloggers who are avoiding it to give it a chance.
This week, I watched “Blue Valentine” and “Dodsworth” back to back – a interesting experience watching two very different takes on the dissolution of two very different marriages. “Blue Valentine” was well-acted but painful to watch, and I came away from it with strongly mixed feelings, which I may or may not elaborate on in a blog post. “Dodsworth,” by conrast, was a revelation – who knew a film from 1935 could feel so contemporary, not to mention intelligently and beautifully written and acted.
On the Musicals front, I got through a bit more of the best of Astaire and Rogers this week. Tomorrow I’m heading out on a business trip, but my hotel room will have a DVD player, so I’m taking along Netflix discs of “Umbrellas of Cherbourg” and Pabst’s “3 Penny Opera” (provided they arrive, as promised, in today’s mail) to keep me company.
Have a great week!
Your excitement and diligence to the musical countdown is contagious Pat, and it reminds me that I must put together a package for you VERY soon. I adore THE UMBRELLAS OF CHERBOURG and think THE THREE-PENNY OPERA is a true German classic of the early cinema. Demy’s other big musical film, THE YOUNG GIRLS OF ROCHEFORT is certainly essential viewing in the preparation stage. Some, like Allan, have it as one of the best in the genre. We” talk soon on this my friend.
I completely agree with you on the wonderful DODSWORTH, and though I might rate BLUE VALENTINE highrer, I know the painful aspects of it has alienated a surprising number of bloggers, most of whom’s opinions I highly respect. As you do note, Gosling and Williams are terrific. And the topical nature of DODSWORTH is indeed remarkable.
I’ve been talking it up about BRIDESMAIDS at work Pat, telling all the women who haven’t seen it to get down to Edgewater (and some men too!) When I think about it I laugh some more. I salute you for your early and immediate affection for this multiplex winner!
Thanks again Pat as always for the great wrap! We’ll talk soon!
Hi! Sam Juliano, Allan, Dennis and WitD readers…
Hi! Dennis…
All I can is…Wow! after checking-out this video and the follow link…
The Globe Mail
…I usually, watch RT news with my parents, but after hearing about the earless baby rabbit in Japan [In other words, this news went right over my radar screen]…That just about did it for me…Do people know what the earless baby rabbit in Japan means?
I too hope that Jaime Grijalba, and his family, friends and the people Of Chile are okay too!
Funny how I can’t see the video because it’s not available in my country. We’re good here and nothing really bad has happened, let’s hope it continues that way.
Sorry to hear of this news. Thanks for the update, and glad that you are well.
Jaime: I knew from the reports that you were far from this awful event, and didn’t want to jump in prematurely. But I applaus all those who expressed their concern, and am happy all is well in Santiago.
Thanks again Dee Dee for your sense of urgency and concern, which has been your hallmark that this site!!!!
Sam thank you so much for the mention. Went the Day Well? sounds like a great WWII-era British film and anything Graham Greene is attached to is usually pretty great. We had another busy week with the kids and taking care of the yard as the weather has been sunny and warm. Based on a recommendation from Subhajit, I checked out The Naked Kiss by Sam Fuller. Fuller is one of my favorite directors but there are a few films I had not caught up with and actually haven’t watched much by him of late. I was quickly reminded why I regard him so highly. I think it’s a masterwork as only Fuller’s unique outlook could present it.
I’m really looking forward to the musicals countdown and am brushing up on my own list to come up with a top 10 so I’m ready when the time comes. Have a great week Sam!
Always great to read about your week John, and a friendier voice can’t be found anywhere!
According to Allan, WENT THE DAY WELL? will soon be announced for Region 2 UK blu-ray. This promise has deterred me from obtaining the ultra-cheap Region 2 DVD, an odd missing link in my collection. I am not sure if it’s on Region 1 netflix, but I will check shortly. It’s quite a war-era propaganda piece, with some outrageous det-pieces and satiric underpinnings. I predict you’ll go for it. And yes, anything with Greene is always worth checking out. As we both know, THE THIRD MAN, BRIGHTON ROCK, THE END OF THE AFFAIR, THE MINISTRY OF FEAR and THE END OF THE AFFAIR were turned
into good to extraordinary films. Shubhajit made a terrific suggestion there with Fuller’s THE NAKED KISS. Again, we both know Fuller has a distinguished filmography. I’m curious as to whether or not you’ve seen his late-careet WHITE DOG?
Thanks too for the attention to the musical countdown, which is currently in preparation.
Look forward to your list my very good friend! Many thanks!
Sam thank you as always for keeping a tap open for Creative Potager here on Wonders in the Dark! It has been a busy couple of week for me and combined with an early summer cold I have been missing my usual rounds of enjoyment in the blogging world.
The film that has had the most lasting impression on me in the few weeks is A FACE IN THE CROWD (1957) directed by Elia Kazan. It was like seeing modern manipulations with its resulting pains streamlined into unmistakable clarity. A timeless piece in many ways.
Hope you get to enjoy more of the summer Sam with a bit of an evening breeze to keep up your spirits.
CreativePotager – “A Face in the Crowd” is one of my all-time favorite movies – it’s amazingly prescient not only about the manipulative powers of mass media, but about personality cults as well. I
Aye Pat, I am with both you and Terrill on A FACE IN THE CROWD! This is one Kazan that I have always thought underestimated, and you do frame it quite eloquently there. I know you have had a rough stretch here with that nagging cold, but I’m sure you’ll be back in the studio doing your thing soon enough. The fact that you manage as much blogging as you do is miraculous, I must tell you. To explore the island, to take photographs and to spend hours in the studio (not to mention daily domestic responsibilities and a passionate commitment to family) doesn’t leave with much time.
I will indeed enjoy the summer, providing we don’t have a high level of humidity and scorching temperatures. Alas, I may be asking too much! Ha!
Many thanks as always my excellent friend! Feel better this week!
Thanks again for the mention, Sam!
This weekend I managed to see a couple programs at the World Wide Short Film Festival here in Toronto. I saw one that was all Super 8, 1 cartridge films (terrible sound and nothing really memorable, although there were some interesting ideas). The second was all award winners, and included a few great ones: “Na Wew, West of the Moon, Bukowski and Big Bang Big Boom.
Hope all is well and I’m glad you enjoyed Bridesmaids!
Dave
Hello Dave!
Ah, you threw me for a loop with those titles! I’m afraid I’m completely lost with them, though I know Charles Bukowski. Is that film about him? Toronto is really a film mecca when it comes to festivals and special film venues (many they gain their premieres there) and I applaud you for your regular diligence to attending all you can! Even a Super 8 and cartridge film? Wow.
Yes, Lucille and I had a great time with BRIDESMAIDS, which as I stated above received excellent reviews from both the professional critics and the blogging community.
Thanks as always my friend!
Hello! Jaime Grijalba…
I too am glad to hear and read your update about the current situation in Chile…I’m so sorry about my “slightly” over the top response, but I’m just “edgy” after reading and hearing about the terrible incident in Japan.
DeeDee 😦
it’s ok 🙂
Not over the top at Dee Dee……..as always the response of someone who cares deeply about her fellow human beings.
Hi! Sam Juliano, Allan Fish and WitD readers…
Sam Juliano,
Let me take a look at what you, discussed …before I talk about what I discovered…
On The Stage…You Watched:
The Bard’s Henry the Fourth parts I & II and it’s connection and relevency to today’s governments.
Unfortunately, it sounds as if it would have been a great play if it was in the right hands…Oh! well, c’est la vie…
On The Movie Screens…You Watched:
[What you, and your family checked-out]…Just by looking at the ratings I can see which films are the weakest on the link and which films are worthy Of checking-out…
…Thanks, for sharing!
Film Socialism *
Bridesmaids ****
X Men: First Class **
Went the Day Well? **** 1/2
Sam Juliano said, “You know the dog days are here too when you see the sequels appearing in multiplexes, the latest of which is the third installment in the X Men saga…”
Most definitely, Sam Juliano, that is why I voted for “Sherlock Holmes: A Game Of Shadow” as the sequel that I look forward to watching…whenever it’s released.
[I also checked-out two classic films that I have never watched…the first film starred actress Anna Neagle and Richard Greene in a British war-time film entitled…“Yellow Canary” and the other film was a [Why-he-did-it…as oppose to a Who-done-it] starring Paul Lukas, in “Whispering City.”
Sam Juliano,
While assisting my administrator with his Ning…I discovered that actress Debbie Reynolds,[I have been promoting her auction on his Ning] is holding one Of the grandest auction on this planet.
Here goes a link… Auction Event and Catalog to a [free] PDF catalog [That you, and your readers, can download if they like…it’s nearly, 300 plus pages…Therefore, please be patience.] Of all the items that she is auctioning off and below is a link to a slew Of videos…with more details about her auction.
A Slew Of Videos Over There On Youtube
Sam Juliano,
Once again thank-you, for the mention…as usual.
DeeDee 😉
Hello my very dear friend. Your comments at this thread are cherish and appreciated deeply.
It’s funny, I had read all about that Debbie Reynolds sale a few days ago in the New York Post, and had discussed it with Broadway Bob Eagleson, whose 6th grade classroom I appear in twice a week to teach creative writing. I had seen the photos of the Judy Garland slippers in THE WIZARD OF OZ, the Charlie Chaplin hat, the dresses and numerous other artifacts. In a sense it was sad to hear that Reynolds was planning to liquidate her beloved holdings (amassed over years of smart investments) but it was clearly a case of money. Her kids urged her to put everything but a few items up for sale. This was a FANTASTIC idea to include this you tube on this thread!!! I thank you exceedingly for thinking of it!!!
As far as my week went, you are quite right. The Shakespeare confection would have worked if the directorial hand took a more-focused approach. This had so much potential. In any case it was a noble failure all things considered.
As you note WENT THE DAY WELL? and BRIDESMAIDS were the week’s two big movie winners, with the latter against all odds for me. I never cared for anything that Jude Apetow had anything to do with. You know the whole picture with FILM SOCIALISM of course, and Bob Clark has made an excellent alternate case on X MEN, far better than my tiny dissmissive capsule.
I do remember WHISPERING CITY, but not YELLOW CANARY. The Paul Lukas starrer was decent enough I would say. I’ve very happy to hear that you finally got some time to watch something, what with all the commitments at blogging sides eating away at your available time.
You remain one of the nicest persons I have ever met, and your submission on this thread is always a joy to me. I thank you for that, the recent contest won by David Noack and the tireless work in keeping our sidebar a great place to visit!
Sam,
Thank you for the link.
Your energy to cover all essential cinema viewings (including X men series!) every week plus to go through all the blog posts, is amazing. I had a little rough week, and already am exhausted. I wish I had half of your fuel.
I saw Kon Ichikawa’s “The Crowded Streetcar (1957)” the other night. It was a treat. Cynical, funny and impressive. It’s a story about a collage graduate landing on a job only to find out everything goes wrong. To me, hilarious was a pair of Chishu Ryu and Haruko Sugimura. Here, they play those characters they always played in Ozu’s film, but something is amiss. Anyone who is familiar with Ozu’s films will find this pair’s demise excruciatingly funny and cynical. I hope this will be released in US and other countries, so many will enjoy this gem.
I enjoyed your take on Godard. I left my two cents, I couldn’t resist it.
Have a good week.
MI
MI: Thanks as always for your feel-good comments, and much appreciated cinematic insights.
Your Godard comment was my absolute favorite in that long thread, and not because you sympathized with my position, but rather because you shed light on the cult that informed film directors in the 60’s and 70’s, and how it was fashionable for some to say they loved directors that they may not even have solved, much less really enjoyed.
I continue to feel that because Godard made some great films during his long career, it doesn’t entitled him to a free pass. (some will of course disagree with this statement, and that’s fair enough) and you shed some telling light on the phenomenon of hero worship. I particularly loved that Japanese-who-want-to-be-French-but-look-Asian comment! hahahaha!
Ypu saw Ichikawa’s THE CROWDED SREETCAR? Wow. That’s one from the great director that’s eluded us here. Just to have Ryu and Sugimura is a special treat, I quite agree! But beyond that I’m glad to hear there is still a very fine Ichikawa film we can look forward to in these parts. My favorite Ichikawa is THE BURMESE HARP, followed by FIRES ON THE PLAIN, THE MAKIOKA SISTERS and AN ACTOR’S REVENGE. I recently managed to see MAKIOKA and ALONE ON THE PACIFIC at the Film Forum.
Thanks as always my friend for brightening the landscape here. I trust that everything in Tokyo has achieved a sustained level of normality at this stime.
I have to ask, old boy, how you saw Went the Day Well? as a satire? It was a sincerely meant propaganda piece of its time, no satire. But in both email and here you refer to it as something satirising itself. It’s as much a satire as Shoah is.
I disagree. It’s a strong propaganda film executed with compelling satiric strokes.
I’m apparently not the only on who thinks so:
FILM OF THE WEEK! #1 CRITICS’ PICK! THE CHANCE TO SEE THIS RARITY IS AN OPPORTUNITY TO INDULGE IN THE SORT OF CINEMATIC ECSTASY
THAT MAKES US OBSESSED WITH MOVIES IN THE FIRST PLACE! The smooth switch-up from typical Ealing satire to a tense WWII thriller
is nothing short of a narrative coup. Home-front propaganda has rarely seemed so cutthroat or so cunning.”
– David Fear, Time Out New York
We’ll agree to disagree.
Sam, I feel myself idling. We’re still waiting for someone to plant that Tree O’ Life in a local theater and — can you believe it? — we don’t have Film Socialisme, either! I find myself unambitious while waiting. Beside Allan Dwan’s western (which I thank you for citing) I addressed myself to Seth Rogen and Michel Gondry’s would-be superhero satire The Green Hornet, and Jacques Demy’s gambling romance Bay of Angels. There’s always something fake about gambling movies, isn’t there, and Demy’s was no exception, though at least he made an effort to equate the gambling itch with other impulses. Perhaps more significantly, I finished TCM’s two-at-a-time serialization of Buck Rogers, which despite an apparent running out of money toward the end is probably the best serial I’ve sat through, simply because it never broke down into episodic missions like so many chapterplays do and maintained a consistent level of energy almost to the end. Oh, well. Next week will bring Super 8 if nothing else, but I’m hoping for the else.
I likd Demy’s BAY OF ANGELS Samuel, but you make some good points about gambling movies in general. I am saddened to hear you still must wait for THE TREE OF LIFE. If you were closer to us down here you could join us for a Thursday night viewing at the Landmark Cinemas on Houston Street, where Maurizo, Dennis and I will be meeting up. Perhaps it will open by you on Friday. FILM SOCIALISM may be a tougher one, as the screens it is playing on are even more limited. I wan’t a fan of THE GREEN HORNET, but I need to get over to your review. I owe MONDO 70 so much more than what I’ve given it, which is inforgivable when one considers it’s one of the most scolarly and eclectic places out there.
BUCK ROGERS is great stuff, I quite agree. And I have my fingers crossed for you. Thanks as always my friend!
Looks like the 17th for Tree of Life but Meek’s Cutoff finally gets here this Friday and with Super 8 that should keep me busy for the weekend. About Godard I’m not holding my breath; it’s really a question of whether Netflix or the Albany Library gets it first. Thanks for the implicit invite, too, and I hope you enjoy the film again.
Sam – I have been waiting for your thoughts on “Bridesmaids.” When I ask my clients what they’ve seen at the theater lately, the most recent response — delivered with full-toothed grin — is BRIDESMAIDS, followed by a resounding laugh and “You’ve got to go see it!” I’m glad that you concur. We may well go see it this weekend.
Thank you for pointing to Speaking from the Heart.
Laurie: I am not at all surprised that your clients are all recommending BRIDESMAIDS, as this one has really struch a chord with all kinds of moviegoers. When I discuss the film with some I actually go too far, broaching some of the individual scenes that made me laugh the most. This of course is a no-no. But there’s wry intelligence at play here, and everyone is at the top of their game. Even the gross-out scenes are well handled. I better shut my trap before I spill the beans on line here!!! Ha!!!
I can’t wait for your response!
\Many thanks my excellent friend!
Thanks a lot Sam for the mention.
I’ve been enjoying a most relaxed time at home – sleeping, catching up with old friends over beer and smokes, followed by more sleeping. Watched French Open too a bit.
Interestingly, saw only my first, err, first two films only today since reaching home sometime in the middle of last week. First was the John Ford masterpiece My Darling Clementine, and the next a recent Bengali release called Noukadubi, by Rituparno Ghosh (one of my favourite filmmakers).
By the way, not to forget, it was really fascinating going through your take on Film Socialism & the comments thread that followed your post. Though I haven’t watched the film, I couldn’t help but join in the incredible discussion by appending my views too. 🙂
You’ve earned this period of relaxation my friend, that’s for sure! And the French Open is a good way to unwind. I quite agree that MY DARLING CLEMENTINE is a masterpiece, though I am sorry to say I don’t know of that Bengali film. But as always I trust your expertise in these matters.
As I stated on the other thread, your comments on Godard and FILM SOCIALISM were extraordinary, and they pretty much sized up the dilemma. I feel like a fish out of water being on ‘attack mode’ but I resolved to take that role only minutes after I walked out of the IFC Film Center on Friday night! Ha!
I need to get myself over to CINEMASCPE today to see what you are showcasing, though obviously I know the most recent link here.
Have a great week my friend, and many thanks as always!
Well, just to let you know, I posted an hour or so back my 499th review at Cinemascope. There are many movies of Satyajit Ray, my favourite filmmaker, that I haven’t yet reviewed at my blog. So for number 500, I’ll be going for a re-watch of one of those Ray movies.
Hello Sam and everyone! Thank you as always for the link to my Never Let Me Go piece and for your astounding comments (from you, Bob and MovieMan) on it. Thankee!
You had a nice week of outings Sam, on Film Socialisme you rated it * while I rated it ****1/2, on that I’ll just head to the review to expand my views on it. I’m not entirely sure about “Bridesmaids” (doesn’t sound like my type of film) and about X-Men: First Class, the jury is still out, but maybe I’ll end up seeing it. About “Went the Day Well?” I want to see it, because I haven’t.
Well, my week was calmer than I thought, because I said that I was going to shoot the TV Pilot that weekend, but I ended up not doing it, as I’ll do it this weekend. On tuesday I managed to see my girlfriend, while wednesday was really tortuous, we had to make a morning show for our TV Workshop, and while we spent the whole morning getting the stuff together, but when the time came to shoot it, we failed miserably, the teacher was really angry at us. Thursday I had a test (superb), while Friday I went to my grandma’s place to take her computer (I need it for the TV pilot), that same day I managed to see my girl again. Saturday night I received the visit of three friends from school and we watched a film as they stayed over the night, it was really entertaining and at the same time enticing.
Movie wise, I saw:
– Anything Else (2003, Woody Allen) **1/2 We have a winner, the worst movie Allen ever made (for now) is this one, as the characters were uninteresting, the acting was really really low standard, and the whole thing didn’t make it worthwhile. The only good thing was the Woodman, who had an amazing turn.
– Love and Death (1974, Woody Allen) ****1/2 One of my favorite Allen films, because it’s funny and inventive and full of excelent monologues. I love how the philosophy questions are made so apparent, and the humour is among the best and the quickest of Allen’s trajectory. This one was watched with my friends saturday night.
– Melinda and Melinda (2004, Woody Allen) *** The idea was great, and it had Radha Mithcell, a splendid actress that can really give it all a good spin, but the tragedy wasn’t tragic enough and the comedy wasn’t funny enough. It had no ending and the gimmick could’ve been used more.
– Day of Wrath (1943, Carl Theodor Dreyer) ****1/2 Superb acting and cinematography, a gripping story involving the dark arts and inclosed religion. A film to marvel at, but… maybe could’ve been better as a silent feature? It’s the first time I’ve said this and I feel it could’ve managed a lot more of emotion. But well, this is past the silent age, I can only dream or remix.
– Win Win (2011, Thomas McCarthy) ****1/2 Paul Giammati is a beast, he’s one of the greatest actors of his generation, and this one proves it with a simple character with a decent evolution and a good amount of faults. The film itself is simple, but full of funny moments and exceptional scenes.
That’s all, have a good week everyone!
Jaime: I was relieved when I first heard that the latest tragedy to befell your nation from far from your Santiago base. I was moved to see that several in the WitD community responded with words of concern and you tube postings. Apparently many Choleans must be hardened after past calamities to hold up under crisis.
You had a very impressive week with the movies, seeing among others Dreyer’s DAY OF WRATH, one of the greatest films of all-time (it would have worked as a silent I’m sure, bu as it is it’s certainly the finest film on its subjefct that the cinema has yet seen) and one that rewards re-viewing with further thematic revelations. The acting and Karl Andersson’s striking expressionistic cinematography (as you note) are top-rank, and the opening sequence featuring the old woman Herlof’s Marte, is one of the most extraordinarily powerful in the cinema. Likewise I am a big fan of Tom McCarthy’s WIN WIN, and agree with you on Paul Giamatti’s pre-eminence as an actor. In this film the young non-professional Alex Schaffer delivered a star-making turn. That young man is headed to stardom, and it won’t be as a wrestler, even with that New Jersey state championship belt he snared. This time around I am fully in agreement with you on your Woody Allen ratings, with LOVE AND DEATH easily the best of those three, and a perfect choice for the group screening you enjoyed. I also concur that ANYTHING ELSE is one of his worst films.
You did indeed stand up for Godard at the FILM SOCIALISM thread and in e mail correspondance, a conviction I greatly respect. Likewise I am happy the film resonated with you, and you didn’t feel tortured or violated. You will surely have much to admire in WENT THE DAY WELL? which offers thrills and biting laughter (a great British classic of the war years) and you may well find BRIDESMAIDS a major surprise. I thought the same way you did, until I actually acknowledged the excellent reviews (from men and women alike) and I had a very good time! It’s a DVD to acquire, methinks. Bob Clark has given Y MEN the ultimate treatment at the head of this thread, so I’ll defer to that. I found it redundant and eventually tedious.
Great that from a school standpoint the week was better, and that you were able to see your girlfriend twice. Have a great week my great friend! Always a treat having your fascinating and refreshing round-up!
Hi Sam, been away for from the PC for awhile but still popping in daily and reading avidly. I’ve being out trying to achieve a major new goal, which I’ll explain once I’m closer to mastering it.
These are some of the films I’ve caught in the last couple of weeks.
The Execution of Private Slovik*
A dim soldier thinks he might be able to get away from WW2 if he cops to the charge of having deserted.
A mildly diverting but generally bland TV movie that runs like a poor man’s ‘Paths of Glory’, Sheen if the best thing about the film.
The Mephisto Waltz*
A wealthy but elderly millionaire befriends and a man and his wife with the sole purpose of using the occult to transfer bodies.
An old, old plot that goes back at least to H.G. Wells turn of the century short fiction, with others who have tried the same including Philip K. Dick, A.E. van Vogt (adapted as Night Gallery segment ‘Since Aunt Ada Came to Stay’, Stephen King (New Twilight Zone’s ‘Granma’). I found the film on a VHS tape that had been lying around for years. Visually, the photography gleams and they capture the sunshine of LA and the direction is inventive and full of adventure (by one of the rising stars of TV direction, but the tale is rather boring.
Sherlock Holmes*
An early 1960s BBC TV series of adaptions which went on to recast the lead with Peter Cushing later in the decade. Not a bad effort for the time and reasonable efforts, though faded now. Jeremy Brett have no need to worry.
Monquer verdoux**
A man goes around the country finding wealthy women to marry and murder, all the time going back to his disabled wife.
A black satire of moderate effectiveness, all very dapper and fine with an obvious point to make. Couldn’t help thinking about ‘Kind Hearts and Coronets’ watching this – which may be one of it’s flaws, that’s it’s casual enough for my mind to drift into comparisons.
The Chinese Are Coming**
A two part BBC documentary about the huge effect China embracing of market capitalism is having on globally, including the local bikini prices in Brazil. Interesting in details as one gigantic country eats up the whole of indigenous cultures, resources and people. Fascinating to watch the fall of one group of powers to another.
The Missiles of October****
13 Days in October as the world stands on the edge of a full scale nuclear war over missiles in Cuba and the Kennedy brothers’ administration tries to reign in it’s belligerent generals.
An early ’70s classic in the docudrama genre which seems even better now than on first viewing. The casting is pitch perfect and the slow build-up of tensions electric.
The Fisher King**
A fantasy that seems to be stuck in it’s time but has the usual directorial flair to be expected of this maverick director. Here, he at least doesn’t seem to have got lost in the style and the story holds up well enough.
My Super Ex-Girlfriend
A gut finds out that his latest girlfriend is not only a superhero but a shade unstable and liable to boil his bunny.
A banal superhero film which is just waaaay too predictable to enjoy.
Knowing – it starts off terrifically mysterious but gets blogged down the longer it goes.
Iron Man II – A sequel of no redeemable merit whatsoever.
The Man from Earth* – This is a strange piece. It was written by a SF writer Jerome Bixby before his death and finished on his death bed (he wrote the classic story ‘It’s a Good Life’ that is the basis for the top tier Twilight Zone 3rd season entry and the script ‘Mirror, Mirror’ for Trek’s second season). It was then cast and filmed on a very small budget becoming a internet favourite. The makers actively encouraging it’s free distribution. It’s sparkles and shimmers with ideas
that more preferable to a 100 CGI blockbusters.
The Black Cat
The dull 1934 film which has been on my shelf awaiting a watch for over a decade. Maybe it’s the bland music or my expectations, but I found this as tedious as ‘The Island of Lost Souls’.
Hello Bobby!
When you are not here you are always missed! But I know you have a life buddy!
Let’s see…..
That IRON MAN sequel is indeed utter trash.
I just played that Twilight Zone episode “It’s A Good Life” to my class last week!!!! Ha! It’s is a top tier entry for sure as is MIRROR MIRROR as a classic ST. So I know Bixby, and will look for THE MAN FROM EARTH, even though you ultimately dissmiss it.
I found the expressionistic set design and the camp dialogue in Ulmer’s THE BLACK CAT as important compnents in that minor classic, though I know it’s also rather goofy.
MY SUPER EX-GIRLFRIEND is junk.
I agree that style is overbearing in THE FISHER KING which I like even less that you do.
I well remember that NIGHT GALLERY episode “Since Aunt Ada Came to Stay” and also THE MEPHISTO WALTZ, which warts and all I’d still give an extra star to (**) But I do agree with your reservation that despite all the gloss, it’s a bore.
As far as that particular SHERLOCK HOLMES I don’t believe I’ve seen it. I’ll have to check my holdings. I DID just recently see the latest BBC Sherlock on blu-ray, and didn’t appreciate it as much as Allan did.
I like MONSIEUR VERDOUX more, perhaps in part because I just saw it over the summer (again) on the Film Forum’s screen for the Chaplin Festival. But you are fair enough, and your comparisons to the Robert Hamer masterpiece KIND HEARTS AND CORONETS is quite apt!
You are dead-on with that rating of the TV movie THE EXECUTION OF PRIVATE SLOVIK, and with the comparisons to PATHS OF GLORY.
As far as THE MISSILES OF OCTOBER and THE CHINESE ARE COMING, I’ve seen neither but much appreciate the interesting capsules.
Thanks for this spectacular wrap my friend!
Your performance at the Godard thread was magnificent!
Thanks very much for the kind plug, Sam – I really do appreciate it! Sorry to hear that H4 was a disappointment – working the two Henry IV plays together works brilliantly in ‘Chimes at Midnight’, but sounds as if this stage version didn’t hold together as well. I’ve only seen Henry IV Part 1 on stage, at Shakespeare’s Globe last year, but would love to see Part 2 too.
I’ve seen a few 1930s and 40s films this week – first off, William Wyler’s comedy ‘The Good Fairy’ (1935), which I enjoyed a lot, once I managed to suspend my disbelief and stop worrying about the crazy plot! Margaret Sullavan and Frank Morgan are both great in it.
Also from 1935 I saw ‘Dangerous’, the film where Bette Davis won her first Oscar, but must say I found this one a disappointment, and can see why it’s often said it was a consolation prize, after she didn’t get the award for ‘Of Human Bondage’. Bette does her best with an inferior script, and I assume the Hays office dictated the lame ending.
Then from the 1940s I saw a so-so swashbuckler, ‘The Spanish Main’ (1945) – I wanted to see this because it was directed by Borzage, but didn’t notice many characteristic touches, though it looks gorgeous. Paul Henreid stars and seems a bit strangely-cast as a pirate – apparently when he pitched the film to Warner Brothers, Jack Warner said “When I want a pirate, I’ll get Errol Flynn”, so he made it at another studio!
I also saw two great films noir, ‘The Set-Up’ (1949) and ‘Mildred Pierce’ (1945) – I’d been wanting to see ‘The Set-Up’ for ages, so was excited when it had a rare TV showing, and it lived up to all the glowing reviews I’d read. I also really enjoyed ‘Mildred Pierce’ and thought Joan Crawford was great in it. Don’t know if/when I’ll get a chance to see the new mini-series with Kate Winslet, but it would be interesting to compare.
Indeed Judy, you nailed it with that reference to CHIMES AT MIDNIGHT, which integrated those two plays magnificently. Of the course the Welles film is way out of the league of this small off-Broadway company, whose central goal now is to win some attention by tackling some classic material. There is always a big risk, and I give them an A for trying. I went in there like you and others as a huge afficionado of these plays, and looked for all kinds of excuses to validate it. Sadly, in the end it just couldn’t hold your attention, a fact that was amplified by the sparce attendance. But bad attendance of course is not always indicative of anything, so I guess that a poor barometer. You saw the play in the greatest venue of all!!!
I couldn’t agree with you more on DANGEROUS. Week all-around, save for Davis, who still didn’t deserve any Oscar for it. Right you are that it was consolation for losing previously to OF HUMAN BONDAGE. THE GOOD FAIRY is a zany confection, but again I completely concur that Sullavan and Morgan came up aces.
I am waiting (im) patiently too to see the Todd Haynes MILDRED PIERCE! The Joan Crawford film you saw it definitely a near-masterpiece and one always mentioned in any serious discussion of film noir. Crawford and Ann Blyth delivered towering performances!
THE SET-UP is one of the greatest of all noirs, economical and devoid of a single false note. Great that you got to this, and this had to be the week’s highlight!
Interesting anecdote about THE SPANISH MAIN, which I haven’t yet seen!
Many thanks as always my very good friend!
I’m sorry to hear Film socialisme was such a drag. I can’t really talk a lot about Godard’s work after the 1960s; I don’t think I’ve seen anything after that decade. I suppose I will have to catch up at some point, though I guess that is part of the point of my project.
Went the Day Well is one of the movies I will be watching this month for my series of essays on 1942 so I am pleased to hear you enjoyed it so much. I always thought it sounded like an interesting movie, though I never got a chance to see it.
I haven’t been to the movies this whole week. I’ve been trying to get Everett to come with me to see The Tree of Life, but his schedule is usually pretty full and he isn’t one who loves to go to the movies (which seems to be true of many people in the film industry).
I still need to get over and read your review of The Tree of Life! Hopefully I’ll get to it tomorrow. Thanks as always!
Jason: If you succeed at being as comprehensive as you plan, you’ll get around to about a dozen Godard features from this period and will be able to come to your own conclusion. Most Godardians do still prefer his earlier work, regardlss of where they stand with the more difficult experimental work from the 70’s onward. So we shall see what we shall see.
WENT THE DAY WELL? is quite unique, and I think you will rate it highly. I am waiting for that blu-ray release eagerly now. Much of the Film Forum crowd were in stiches throughout, so the satiric elements connected.
Looks like your goal with Everett is similar to mine, as to wanted to bring others in on films that blow us away. I am actually heading out to see it tomorrow night with the site’s Dennis Polifroni and Maurizio Roca, and I’m excited! I know your partner is a tough one to solve for free time, but I’m wagering you’ll solve it. You wrote a spectacular review on the film!!
Thanks as always my very good friend!
Fellini Satyricon ~
After taking a swipe at Fellini’s ‘Satyricon’ in last weekend’s email chain, I thought I should reinvestigate this film after a 20-yr. hiatus. Maybe I’d unfairly castigated Fellini’s phantasmagoria of life in ancient Rome. I hadn’t.
In 1970 many critics assured viewers that Fellini was drawing parallels between the decadence and barbarity of pre-Christian Rome and contemporary mores, but Fellini is no canting moralizer, and if Western civilization was/is circling the drain Fellini refuses to comment. So thankfully we can dispense with superficial moralizing.
Petronius’ ‘The Satyricon’ bears a vague, parodic resemblance to Homer’s ‘Odyssey,’ substituting Poseidon’s wrath towards Odysseus with the enmity of Priapus for Encolpius, Petronius’ protagonist, who has perhaps offended the god of virility with murder and the disruption of a Priapic religious ceremony (this isn’t clear in the fragmented text). Encolpius’ frantic search to find a cure for his lost potency provides a loose plot on which to hang a series a ribald picaresque sexual adventures through the seamy underbelly of Rome circa the 1st century A.D. This gossamer thread is all that Fellini and Petronius, who was Nero’s court satirist, have in common. Indeed, Fellini’s ‘Satyricon’ is presented as a ‘free’ adaptation of the ancient classic.
So what, if not Petronius, hath Fellini wrought? A freak show only the cinema’s maestro of dreams and fantasies could imagine and bring to fruition, a diorama of faces and bodies that both repel and fascinate. Fellini has conjured up a helllish pageant of misplaced surrealism (Petronius’ satire is the partial view of realism that favors lewd sex and vice), glittering ostentation, ugliness, beauty and androgyny, nymphomania, satyriasis, cripples, giantesses — an epicene orgy that features everything but a joyous abandonment to the erotic. Fellini’s ‘Satyricon’ (satyricon is an ancient aphrodisiac) is the most joyless, doleful, unsensual and depressing gang-bang of a film I can remember. There’s a lot of sex in it, but no one seems to enjoy it.
Even Trimalchio’s banquet, a glorious mock epic of gluttony, venery and parvenu excess, a lengthy scene that should have been the showpiece of the film, a progression of outrageous culinary splendors, a supreme epicurean farce, is cut short and dribbles away into a tableau of leering faces that culminates in the low comedy of a food fight. Trimalchio’s mangled epigrams, his dubious oratory and doggerel verses are all missing. Fellini’s great comic gifts have degenerated into mere vulgarity, flatulence, offal and unhappy coupling.
And he’s bowdlerized Petronius’ hilarious cure for Encolpius’ impotence (which involves an oiled leather dildo, hot peppers and nettles).
Instead, Fellini has given us a disjointed series of images (in fairness, much of Petronius’ text has been lost), some of them beautiful, some familiar (Trimalchio gives one of his boy toys a piggyback ride a la ‘La Dolce Vita’), none of them startling or visionary, images that would make the viewer gasp with admiration.
Fellini ‘Satyricon’ is a deracinated circus, the detritus of an artist with creative block, a disaster the Guido of ‘8-1/2’ would have made if had traveled into the past instead of planning that interplanetary space spectacle.
Finally, I concede to Allan that ‘Satyricon’ is rather better than ‘Casanova,’ probably the nadir of Fellini’s career. And the master came back in full regalia with ‘And the Ship Sails On’ and especially the hilarious and achingly beautiful ‘Intervista’ (1987), one of the most moving experiences I’ve had in the cinema (the scene with Ekberg and Mastroianni watching “La Dolce Vita’ and their younger selves cavorting in the Trevi Fountain always makes the tears flow, especially since Fellini and Mastroianni are now both gone).
‘Satyricon’ just doesn’t feel like a movie Fellini felt compelled to make, that’s all.
Seems ike an astonishingly appropriate film to tackle Mark, what with LA DOLCE VITA playing now for a two week run at the Film Forum. I considered seeing it tonight, but it’s three hours long and I may hold off until next week. Instead it seem like I’l be viewing the Japanese 13 ASSASSINS.
This is an absolutely sonorous and incredibly perceptive takedown of FELLINI SATYRICON, one I can simultaneously applaud and shake my head at. Applaud because it’s brilliant, shake my head because I’m not really in agreement. FELLINI SATYRICON is not absolute first-rate Fellini, but it’s second-tier, and far better than FELLINI’S ROMA, a point you finally concede. True there are no characters in the film, there are only people in fleeting appearance; the film has no cumilative drama, no adventurous context, just a reliance on the tapestry, much like Greenaway’s PROSPERO’S BOOKS or some of Pasolini. In this regard the cinematography is by Giuseppe Rotunno, whose lighting is remarkable. But the film’s visual structure is forged by teh sets and costumes of that wizard of such, Danilo Donati Unlike the clothes on display so strikingly in 8 1/2 and JULIET OF THE SPIRITS, there’s a decadent sumptuousness, which is to paint a picture of the period through props and faces. The aarvark-looking character at the beginning who was passing gas in extravagent fashion (the flatulence you broach) sets the right tone for the film. Yes so much of what you say here is true (it’s a freak show, a reveling in ancient decadence, a showcase for gluttony and extravagent homosexuality.) But the film is transfixing, and the various set pieces are carried off with captivating sensuality. One is seduced into looking beyond the context.
Still that narrative issue you bring to the table has much validity. I exuse them in view of the larger vision, you do not.
I do wish you were here my friend to see LA DOLCE VITA on the big screen. Many thanks for this fascinating review!
Well, you know, I love Fellini. He may be the most pleasure-giving director in film history, which is why ‘Satyricon’ disappoints so. It’s devoid of any humor, a glum pageant, more crude than amusing, which is surprising from a director of Fellini’s outsize joie-de-vivre.
Of course, Danilo Donato and Rotunno are both geniuses and some of the faces are heart-stopping in their beauty (is Donyale Luna the most breathtaking creature of all time? She makes Angelina Jolie look like Lily Tomlin’s Ernestine!). ‘Satyricon’ just isn’t my favorite Fellini and in the end, what does it matter? After ‘Satyricon’ he came back with ‘Amarcord,’ ‘And the Ship Sails On’ and the achingly poignant ‘Intervista,’ which has moved me to tears several times. Fellini’s place in the pantheon is secure and ‘8-1/2’ is one of the great artworks of the past century.
Sam, I too wish I could watch ‘La Dolce Vita’ on the big screen with you, followed by ‘Intervista.’ I’d bawl like a baby. One day, my friend.
Oh and ‘The Tree of Life’ opened here today with a tepid review in the local paper, but I’m dying to see it. I’ll probably have some comment next week. I really want to love this film. With fingers crossed.
Not only should the sequel to The Human Centipede be banned but the producers and actors should be locked away in lunatic asylums where they obviously belong. The Human Centipede is to cinema what Auschwitz was to health resorts. May they all rot in hell sewn to each other’s assholes and mouths.