Viola Davis and Octavia Spencer in surprisingly resonant drama “The Help” set in the Deep South in the 60’s
by Sam Juliano
The musical countdown is finally ready to launch, and a formidable group of writers have joined the project and have made claim to nearly all 70 films being covered during a nearly three-month venture. After seven voters determined the numerical order of the 70 movies (indeed selected what those 70 would be) an even larger group have enlisted in the writer’s ranks. Marilyn Ferdinand, Judy Geater, Pat Perry, Dennis Polifroni, Allan Fish and Yours Truly will be writing a large number of the essays after casting ballots (Greg Ferrara of TCM also voted) but a number of other close friends and affiliates will be writing: John Greco of Twenty Four Frames, Joel Bocko of The Dancing Image, Jon Warner of Films Worth Watching, R.D. Finch of The Movie Projector, our own Jim Clark, Tony d’Ambra of FilmsNoir.net and Wonders in the Dark, and a group of distinguished guest writers who have made their mark around the blogosphere: Brian of Classic Film Boy, Brandie, Rachel Buccicone, and Hilary at The Scarlet Olive. Many thanks to Mr. Finch for putting out the word! The countdown will begin a week from today on Monday, August 22nd with an opening essay from Judy Geater, and will continue on until Thursday November 10th, when the Number 1 musical will be unveiled. Musical countdown essays will appear six days, with only Saturday set aside as an “off” day. As always readers and musical fans are encouraged to enter comments and engage in discussion. A full day-to-day schedule has been e mailed to the writers, and preparation for the project is well-underway.
Congratulations to Jamie Uhler for the publiccation of his Rilke designs this past week! While we were appraised of impending developments months back, the actual happening was no less thrilling. Over at Exodus 8:2 Jaime Grijalba is chairing a Richard Kelly blogothon and is looking for participants from the rank and file. Jaime’s a hard worker and deserved the support. Over at Movies Over Matter Jason Marshall has moved to the best performances of 1942, naming Bette Davis tops for The Little Foxes.
This past week on the movie front yielded the final features in both the “Buster Keaton Festival” and the “Pre-Code Festival” at the Film Forum. Miraculously I managed to see every single one of the 50 films screened in the four-week long “Pre-Code Festival” and every one of the 12 features and 12 shorts offered in the Monday Keaton venue that actually started back in May. In any case, the bottom line is that I walked through the Film Forum doors on 33 successive days in a row, no frugal venture, especially when one considers the toll alone crossing over from northern New Jersey is $8.00. (word is that a 50% toll hike is about a month away!) It was great to have Lucille for about three-quarters of the pre-coders, and to have Lucille and the three boys for every one of the Keatons and even to delight in watching Jeremy serve as stage picker for program director Bruce Goldstein. The Keaton Festival was truly one of the highlights of my movie-going life, and having that interactive audience really enhanced the experience.
This week I saw (most with Lucille and some with family):
Seven Chances ***** (Monday evening) Buster Keaton at Film Forum
The Balloonatic **** (Monday evening) Buster Keaton at Film Forum
Girls About Town *** (Tuesday evening) Pre-Code Festival at Film Forum
Heat Lightening *** (Tuesday evening) Pre-Code Festival at Film Forum
Union Depot *** 1/2 (Tuesday evening) Pre-Code Festival at Film Forum
She Done Him Wrong ***** (Wednesday evening) Pre-Code at Film Forum
The Bowery **** 1/2 (Wednesday evening) Pre-Code Festival at Film Forum
Skyscraper Souls *** 1/2 (Thursday evening) Pre-Code Festival at Film Forum
Upperworld **** (Thursday evening) Pre-Code Festival at Film Forum
The Help *** (Friday night) Ridgefield Park multiplex
Sholem Aleichem: Laughing in the Darkness **** (Friday) Montclair Claridge
The documentary (SHOLEM ALEICHEM: LAUGHING IN THE DARKNESS) on the Russian-Yiddish writer who created the “Tevye the Milkman” stories that later inspired “Fiddler on the Roof” is wholly fascinating and a close look at the reliance on the writer who was seen by the Jewish literary community as the vital author who represnted a heritage. THE HELP was a little bit of FRIED GREEN TOMATOES and a little bit of DRIVING MISS DAISY, but surprisingly offered up humor and heartbreak in a wholly digestible fashion. Rare for a multiplexer though this straddles the line. More on Pre-Coder Festival in separate post (above)
As always there are riches all around us:
Srikanth Srinivasan (Just Another Film Buff) has brought together film, art and literature in an altogether brilliant and fascinating post at The Seventh Art titled “The Entombment of Father McTeague”: http://theseventhart.info/2011/08/13/the-entombment-of-father-mcteague/
In Tokyo the always-brilliant “Murderous Ink” examines the career of Japanese icon Setsuko Hara in his post on the film “Nobuko Rides on a Cloud” at Vermillion and One Nights: http://vermillionandonenights.blogspot.com/2011/08/nobuko-rides-on-cloud.html
R.D. Finch at The Movie Projector has penned an extraordinary review of the Ozu masterpiece “There Was A Father”: http://themovieprojector.blogspot.com/2011/08/two-early-films-by-ozu-part-2.html
John Greco follows up his extraordinary interview with author Patrick McGilligan with a terrific review of Nicholas Ray’s undervalued “The Lusty Men” at Twenty Four Frames: http://twentyfourframes.wordpress.com/2011/08/12/the-lusty-men-1952-nicholas-ray/
Meanwhile, John’s beautiful new ‘photography’ website is up and running:
http://johngrecophotography.com/
At Only the Cinema Ed Howard continues to pen extraordinary reviews on challenging films, the latest the Claire Denis masterwork, “White Material”: http://seul-le-cinema.blogspot.com/2011/08/white-material.html
Utilizing you tubes and press reports Judy Geater gleefully reports at Movie Classics on the discovery in the UK of a lot of film scores, some thought lost: http://movieclassics.wordpress.com/2011/08/14/scores-for-silent-movies-discovered/
Laurie Buchanan promotes a super-effective exercise in a post titled “The Up Side of Down” at the always-upbeat Speaking From The Heart: http://holessence.wordpress.com/2011/08/11/the-up-side-of-down/
On scenic Mayne Island in the Pacific Northwest, Terrill Welch makes a case for a creative retreat in a wooden frame house in the woods to die for. The post is titled “Creative Island Retreat Home For You?” and it’s at the Creativepotager’s blog: http://creativepotager.wordpress.com/2011/08/12/creative-island-retreat-home-for-you/
Tony d’Ambra offers up an engaging look at noir writer James Ursini’s new book “Directors on the Edge” (Outliers in Hollywood) at FilmsNoir.net: http://filmsnoir.net/film_noir/directors-on-the-edge-outliers-in-hollywood-james-ursinis-new-book.html
At Mondo 70 Samuel Wilson has published the first of a promised series on Buster Keaton features and shorts with a fantastic essay on “The High Sign”: http://mondo70.blogspot.com/2011/08/buster-keaton-in-high-sign-1920.html
Jon Warner’s superlative review of of Pasolini’s neorealist gem “Paisan” is leading up at Films Worth Watching: http://filmsworthwatching.blogspot.com/2011/08/paisan-1946-directed-by-roberto.html
Jaime Grijalba has launched his Richard Kelly blogothon with the post “Rogues Gallery” at Exodus 8:2, and he welcomes all to participate: http://exodus8-2.blogspot.com/2011/08/rogues-gallery-2010.html
Pat Perry at Doodad Kind of Girl explains why the Tribeca flick “Suburban Girl” with Alec Baldwin went straight-to-DVD, and the talk, while exceedingly well-written ain’t so pretty: http://doodadkindoftown.blogspot.com/2011/08/on-home-screen-suburban-girl.html
Marilyn Ferdinand has authored a marvelous review of a seldom-seen pre-coder, Mervyn LeRoy’s 1930 “A Show Girl in Hollywood” at Ferdy on Films: http://www.ferdyonfilms.com/?p=10911
At Darkness Into Light Dee Dee features “Dan” in the midwest reporting from the Chicago Noir Festival on three films he took in consecutively: “The Mob”, “New York Confidential” and “Loophole”: http://noirishcity.blogspot.com/2011/08/noir-city-3-day-2did-dan-in-midwest.html
A major press release on “The Last Lullaby” and “Peril” from filmmaker Jeffrey Goodman leads up at the blogsite The Last Lullaby. Looks like things are moving along most promisingly!: http://cahierspositif.blogspot.com/2011/08/latest-news-on-lullaby-and-peril.html
Sachin Gandhi at Scribbles and Ramblings has posted the “Copa America” results in book and film. It’s great stuff!: http://likhna.blogspot.com/2011/07/copa-america-2011-book-film-festival.html
Stephen Russell-Gebbett has again pushed that creative button with his post “Cinema’s True Avengers” at Checking On My Sausages: http://checkingonmysausages.blogspot.com/2011/07/cinemas-true-avengers.html
TCM’s Greg Ferrara expresses a general disdain for CGI, but some genuine hope for “Rise of the Planet of the Apes,” built on a lifelong love for the franchise. The post is over at Cinema Styles: http://cinemastyles.blogspot.com/2011/08/rise-of-cgi.html
At The Schleicher Spin David issues a a well-penned dismissal of the new multiplexer “The Guard”: http://theschleicherspin.com/2011/08/12/changing-of-the-guard/
Troy Olson may well have written his magnum opus at Elusive as Robert Denby with a spectacular essay on Robert Bresson’s Le Journal
Une Cure de Campagne (“Diary of a Country Priest”): http://troyolson.blogspot.com/2011/07/robert-bresson-journal-d-cure-de.html
Jason Marshall has named Bette Davis Best Actress of 1941 for her unforgettable performance in “The Little Foxes”: http://moviesovermatter.com/2011/08/13/bette-davis-the-little-foxes-best-actress-of-1941/
Roderick Heath has again penned a masterpiece with his review of 2003’s “Ironclad” at This Island Rod: http://thisislandrod.blogspot.com/2011/08/ironclad-2011.html
Kaleem Hasan announces the sad passing of Indian legend Shammi Kapoor at Satyamshot: http://satyamshot.wordpress.com/2011/08/14/shammi-kapoor-passes-away/
Shubhajit has penned a wonderful capsule essay on literary master Sukamar Ray, father of the famed film director at Cinemascope: http://cliched-monologues.blogspot.com/2011/08/sukumar-ray-1987.html
You’d be hard-pressed to pass up “Coffee With a Twist” at the always intoxicating Coffee Messiah’s blog, authored by Michael Harford: http://coffeemessiah.blogspot.com/2011/08/coffee-with-twist-post-to-appear-later.html
Dave Van Poppel has penned a fascinating review of a seemingly fascinating documentary, “Billy the Kid” at Visions of Non-Fiction: http://visionsofnonfiction.blogspot.com/2011/08/2000s-billy-kid.html
At Patricia’s Wisdom, the Bard is invoked in an immortal summer sonnet: http://patriciaswisdom.com/2011/08/summer-through-the-eyes-of-william-shakespeare/
J.D. has posted a typically superlative review, this time on “The January Man” at Radiator Heaven: http://rheaven.blogspot.com/2011/08/january-man.html
At Living in Cinema Craig Kennedy has brought together an interesting bulletin board of information on his latest ‘News du Jour’ post: http://livingincinema.com/2011/08/13/news-du-jour-hi-no-silver/
At SmiledYawned Nodded Longman Oz has most creatively sized up Jean-Luc Godard’s “Film Socialism”: http://smiledyawnednodded.com/2011/07/17/filmsocialisme/
At English-One-O-Worst, the jack of all trades Heath has penned a stupendous piece of literary criticism on Henry James’s “The Turn of
the Screw”: http://englishoneoworst.blogspot.com/2011/07/watching-screw-turn-henry-james.html
Kevin Olson has a stylish piece up at Hugo Stiglitz Makes Movies on “Summer of Slash: Hell Night”: http://kolson-kevinsblog.blogspot.com/2011/08/summer-of-slash-hell-night.html
At Petrified Fountain of Thought Stephen Morton has penned a stunning essay on Kelly Reichardt and “Meek’s Cutoff”: http://petrifiedfountainofthought.blogspot.com/2011/07/thoughts-on-kelly-reichardt-and-meeks.html
Adam Zanzie has penned an altogether magnificent review of “The Tree of Life” at Icebox Movies: http://iceboxmovies.blogspot.com/2011/07/tree-of-life-2011-stairways-to-heaven.html
At The Man From Porlock Craig has penned a terrific review of The Tree of Life: http://themanfromporlock.blogspot.com/2011/08/where-god-lives-tree-of-life.html
Hokahey has penned athought-provoking piece at Little Worlds on “Rise of the Planet of the Apes”: http://hokahey-littleworlds.blogspot.com/2011/08/rise-and-fall-rise-of-planet-of-apes.html
The Film Doctor has “Future Links” leading up at his place: http://filmdr.blogspot.com/2011/08/future-links.html
Peter Lenihan features actress Janet Gaynor in his lead post at The Long Voyage Home: http://thelongvoyagehome.blogspot.com/
Jason Bellamy examines the new Harry Potter film over at The Cooler with his usual rhetorical gifts: http://coolercinema.blogspot.com/2011/08/remember-hogwarts-harry-potter-and.html
An early September “Nicholas Ray Blogothon” is on tap at the Cinema Viewfinder, manned by Tony Dayoub. Sounds like a terrific venture!: http://www.cinemaviewfinder.com/2011/08/nicholas-ray-blogathon.html
At Not Just Movies Jake Cole offers up superb capsule reviews on “Platinum Blonde,” “The Mad Monk” and “The Lodger”: http://armchairc.blogspot.com/2011/08/capsule-reviews-platinum-blonde-mad.html
Slant writer extraordinaire Jon Lanthier likens A Serbian Film to a “transgressive” experience, awarding it 3 out of 4 stars at Aspiring Sellout: http://aspiringsellout.com/2011/05/cameraman-2010-a-serbian-film-2010/
Paul J. Marasa considers Robert Zemekis’s Who Framed Roger Rabbit? in a stellar essay at TheConstant Viewer: http://theconstantviewer.blogspot.com/2011/06/june-26-1988-who-framed-roger-rabbit.html
Our heart goes out to Jeopardy Girl at this trying time: http://jeopardygirl.wordpress.com/2011/07/30/pressed-into-service/
Click on names for archives
Writers/Founders
Sam, I should thank you for your continued support and participation at my site even during my recent disappearance into self-indulgent hermitage over the past several weeks. I think I am finally coming out of it and want to re-enter the world of the living.
I am more than impressed by your pre-code extravaganza. You saw some gems (more on that on your longer post about it).
I have been wary of “The Help” ever since the book came out. You wrote: “THE HELP was a little bit of FRIED GREEN TOMATOES and a little bit of DRIVING MISS DAISY, but surprisingly offered up humor and heartbreak in a wholly digestible fashion.” That’s exactly why I’m nervous about it. Jim Crow (American apartheid) was one of the ugliest, cruelest, inhumane, unjust periods and I don’t like the idea of making it “digestible.” I will withhold my judgment until after I see the film, but I will admit I am already pre-disposed to disliking it because it appears to be segregation-lite. It’s also called “The Help” but appears to be about white folks more than anything. I always love stories where whites discover their power by helping poor, voiceless, helpless black folks overcome their repression, because they could never have thought of that on their own. Why don’t we tell the real stories of heroic men and women who struggled against their oppression without paternalistic whites guiding them?
I suspect a movie about Booker T. Washington, Fredrick Douglass, Medgar Evers, Ida B. Wells, Stokely Carmichael, Angela Davis, Huey Newton, or Bobby Seale wouldn’t be nearly as fuzzy as a Disney-fied version of Jim Crow where whites can walk away feeling good about themselves.
But watch me end up loving the movie and I’ll have to eat my words. Bet you wish I stayed quiet for at least another week.
This is an incredible comment here Jason–candid, observant and uncompromising. I appreciate it in every sense!
Well, I’ll admit I made a poor choice of words there with “digestible.” Interestly enough THE HELP received very solid reviews and a decisively favorable majority concensus. This means little (heck I can’t count the times this year I didn’t like films that everybody else did) but it still alerts you to the general view that the book and the material wasn’t exploited. That much is certain, regardless of the varying degrees of emotional connection we might have. The film does not embrace segregation at all, but only presents the 60’s as it was in that region. I don’t want sugar-coating, and like you am well-aware of the ugliness of this time. But–and here is where you and I differ I’m sure–I must say I loved both DRIVING MISS DAISY and FRIED GREEN TOMATOES for a host of reasons. This may portend for a rejection (by you) of THE HELP, but we shall see. You may indeed love it, but I won’t see that as “eating your words.” You’ve made a pointed, persuasive argument here.
I am delighted that you are feeling better my friend! That is what really matters the most.
Thanks as always!
Sam, thanks very much for the plug – I’m still amazed at how you find time to do these links along with everything else, including all the essays you are writing for the musicals countdown! Must admit I have done very little movie viewing this week as I’ve been away on holiday in the New Forest with my family – the weather was good and we enjoyed ourselves visiting attractions including Stonehenge, a steam railway, Jane Austen’s house, a sealife centre and a car museum, as well as walking in the forest and looking at the famous ponies.
Judy–
Let me make one thing clear. I’d trade in any film festival for the privelege of experiencing Stonehenge, Jane Austen’s house and those other lovely locations at any time! Heck, I’d give my right arm to visit Stratford-Upon-Avon, which is just a stone’s throw for your own abode. Truthfully, that was a fantastic vacation for your family, and I tip my cap to you. Having good weather is vital for sure! Thanks for everything my friend! Great that you will be launching the musicals countdown!
Not much to report this week, exceprt that I’ll say this weeks episode of BREAKING BAD might be one of my two or three favorites in 4 seasons now (Aaron Paul, who plays Jesse on the show, is looking for his third straight Emmy Award for Best Supporting Actor of the Year and I can’t see anyone getting even close to upstaging him for that at the 2012 ceremony).
What I really wanted to know, though, and I want to know this from Allan as he lives in the UK…
I saw a preview for a show coming to BBC AMERICA in the next few weeks that looked interesting.
TO ALLAN: What do you know about a BBC drama called “THE HOUR”????
Good? Bad??? Don’t waste my time????
Looked intriguing to me…
Other than that, it’s been work, work, work, work and boning up on MUSICALS for a few films I have been asked to comment on…
I have been watching THE HOUR, Dennis, and will get the Blu Ray when it comes down in price. It’s okay, but seems always on the verge of being something special without quite getting there. However, the period detail is lovely and with Ben Whishaw, Dominic West and Romola Garai in the leads, you can’t go wrong really.
Sounds like you’ve been going television crazy Dennis! Sorry to say I am not familiar with that show, but much appreciate the superlative assessment! Some day……
Thank you Sir!
Sam,
Thanks again very much for the double shout out. I am stunned at your resilience with the daily visits to the Film Forum (I will visit your thoughts on the Pre-Code festival later). Looking forward to the musical countdown and am already at work on some films (watched three) and reviews which I won’t go any further into. I actually may have matched you for the number of films watched this past week if I include the three alluded too above.
The Help (****) Surprisingly enjoyed this film about the effects on a small Southern town in the early 1960’s when a white writer enlists black maids in writing a book about what life is like as “the help.” Does not delve into the real horrors of the period but it does reflect on the bond that would unintentionally develop between black maids and the employers white children. Highlight of the film are engaging performances by Viola Davis and Octavia Spencer.
Crazy, Stupid, Love (***1/2) Charming comedy with a smart cast who do all the right things. The script never resorts to crude humor we are faced with too often these days.
Sands of the Kalahari (***1/2) Watched this for the first time since 1965! A small plane crashes in the Kalahari desert leaving a small group of strangers stranded and surrounded by baboons, sand and a scorching sun. Interesting enough story of survival in nature’s harsh surroundings. Satisfying and unexpected ending.
My Dog Tulip (****1/2) The bond between a man and his dog in the film version of J.R. Ackerley’s wonderful slim volume of animal literature is undeniable A stylish and mature look at the relationship between a lonely man and a dog who find each other and the perfect friendship neither had ever had.
Love Me or Leave Me (***1/2) Fictionalized version of the life of singer Ruth Etting who married gangster Marty “Moe the Gimp” Snyder. James Cagney as Snyder picks up taxi dancer Etting (Doris Day) and through intimidation, rage and constant brow against anyone who gets in his way turns her into a star. Day, an actress I am not really fond of, turns in a good performance. As for Cagney, this is a rare annoying performance, and maybe that what makes it convincing because you really despise him in this film. Classic songs by Rogers and Hart, Irving Berlin and others. The film gets a bit too fluffy with a happy ending but overall entertaining.
It’s a Wonderful World (***1/2) An entertaining delight with James Stewart and Claudette Colbert in their only screen pairing. But it is the casting of Edgar “Slow Burn” Kennedy and Nate Pendleton as two of the most inept cops after Stewart, and Guy Kibbee as Stewart’s partner, who steal the show.
Jailhouse Rock (**1/2) Elvis never looked better than he does in this film however, as in most cases he is given a poor script and his character here is misconceived. Instead of the sensitive James Dean type rebel without a cause, what we get instead is an arrogant insensitive asshole who treats everyone like dirt. His only interest is in making money. Of course in the end he finds redemption and all is forgiven as he forgives them. After all, he is Jesus, I’m mean “The King.” The film has a couple of good musical numbers (Jailhouse Rock and Treat Me Nice) that elevate it all a notch. A real guilty pleasure.
Last Gangster, The (***) Average gangster film with Edward G. Robinson as a Capone type hood sent to prison for income tax evasion. During that time his wife divorces him and his child grows up thinking young Jimmy Stewart, the kid’s mom new husband, is his dad. Ten years later when Eddie is released from prison, he wants his kid! Good stuff until a soft ending ruins it. Story by William Wellman.
John—
I did succeed in my mission, but it was a demanding task in many ways. But it has launched me on a more in-depth pre-code investigation at a time where I do need to re-focus fast on the upcoming musical countdown, a project where I have multiple tasks. I know you’ve been busy yourself on this venture, and could never thank you enough. You did indeed have a banner week yourself, and I am happy to say I’ve seen every film except CRAZY, STUPID LOVE, which Lucille has been urging me to see. But the festival temporarily curtailed viewings of a number of the newer releases. I will convey your sentiments on CRAZY STUPID LOVE to Lucille (charming comedy) and she’ll re-new her urgings.
I couldn’t have said it better on THE HELP! One recalls the close relationships between African-American servants and the children of the white owners in so many films, even towering classics like GONE WITH THE WIND and TO KILL A MOCKINGBIRD, but few have attempted to offer a more detailed study. THE MAID had every reason to fail on screen, but as you rightly note the spirit, engaging characters, and terrific performances carried the day. I am absolutely thrilled at that very high rating for MY DOG TULIP, a film I adore. Love the capsule too. Ditto for IT’S A WONDERFUL WORLD and agree that JAILHOUSE ROCK and THE LAST GANGSTER are fine in a minor key. I was never a big fan of LOVE ME OR LEAVE ME (rare in that sense for a Cagney) so I connect with your reservations. Still, I’d give it three stars. SANDS is a reasonably decent survival story.
Thanks as always for the sensational report my very good friend!
Sam, thanks so much for the awesome mention.
Wow, what a last month you have had. I am simply in awe and know that this must have been one of your most fulfilling cinephile experiences yet. I look forward to reading your pre-code wrap-up and hearing more about the films in weeks ahead.
This week was a slightly slower week for me. I saw BARRY LYNDON, THE ASCENT, Imamura’s VENGEANCE IS MINE, and PAT GARRETT & BILLY THE KID. I was very happy to see them all but was most affected by the Peckinpah. It felt off in the best of ways to me, and it’s ultimate effect for me was something that was haunting, lyrical, and sad.
Here’s to another excellent week, Sam. Thanks so much for all that you do!
Jeffrey–
It’s been thrilling news to learn of the latest developments with the DVD of THE LAST LULLABY and of the production of PERIL.
Yes, the pre-code festival has been especially fullfilling when one considers I had only seen 2/5 of the films previously. I’ve never before attended a festival where I saw such a low ratio beforehand. It was like “discovery” again and again, and so many gems surfaced. Some films like RED DUST and BABY FACE should have been watched well before this festival, but I never got around to them. Heck I had never watched Mae West’s SHE DONE HIM WRONG until now, and what joys were to had.
I know well of your affinity for Peckinpah and can’t blame you for preferring this among that awesopme lot. BARRY LYNDON is for me among the five greatest films ever made (yes I love it that much) and the Russian THE ASCENT is a staggering masterpiece. But I could hardly say anything disparaging about either the Imamura nor the Peckinpah!
Considering the ultra-busy wekk you had on all fronts, I’d say your progress was miraculous my friend! Many thanks as always!
Sam thanks as always for the support. Congrats on finishing up the pre-code festival. That’s quite an in-depth look you got at that period. We had a nice vacation camping near the dunes further up north in Michigan so it was both restful and busy keeping the kids from eating sand. Ha! Anyway, came back and watched On the Town, which is definitely a masterpiece and one of Kelly-Donnen’s best films. I was most impressed with the film’s dancing sequences, It’s an exuberantly fun musical. Up next for me is Fiddler on the Roof and Cabin in the Sky. Have a great week!
Jon–
Once I start a festival, the ball keeps rolling. This is precisely why I have avoided the currently-running Robert Ryan Festival, as I know I’ll overdo it. But I will be there this coming Wednesday for ODDS AGAINST TOMORROW (Robert Wise) and for two other features on other days. As I stated in other responses, I was particularly enthralled by the pre-code festival, because I had not previously seen a great number of the features. It really was a learning experience like no other festival I’ve attended outside of the Mikio Naruse from a few years ago and the Brit Noir of two summers prior.
OUR TOWN is an exceedingly-popular musical indeed, and I can’t wait to hear your opinion on FIDDLER especially, though CABIN is another essential.
Great to hear about the vacation, the kids and the sand my friend! Many thanks!
Thanks again, Sam, for including me here. As you know I’ve been less active recently. but I posted something new this morning.
I still worry for your sanity Sam, watching so many films in so little time. One day you’ll fall into film and won’t be able to crawl back out again(!) This week I saw EXIT THROUGH THE GIFT SHOP on TV, which was interesting in terms of the art shown rather than the art of the documentary itself (I feel a book of images would have worked just as well). ***
I would agree to a point that it’s insanity to even attempt anything like this in the middle of the summer. But on the other hand, there’s something to be said for the urgency of a festival, where seeing every film conforms to the program’s intentions and close scrutiny. It’s like in four weeks you established the essential groundwork for further study. I am not so sure that seeing many films in a short time results in forgetting any. I guess it’s all up to the person.
Hey Stephen—
I will be over to CHECKING ON MY SAUSAGES soon to investigate that new post. Let’s say I am used to this kind of filmgoing through my life and can manage the volume reasonably well. The Pre-Code Festivals’s diversity of genre helped too.
I am not a fan of EXIT THROUGH THE GIFT SHOP< which I feel you accurately assess here.
Many thanks my very good friend!
I read some good things about the Sholem Aleichem documentary, and was pleased -and surprised- at the overall response to “The Help.” Interesting that you seem to think it bears closer kinship to “Fried Green Tomatoes” than to “Driving Miss Daisy.” But I know you like both.
I watched those two pre-coders you made for me, and was especially smitten with “Baby Face.” Stanwyck is peerless.
Frank–
The Sholem Aleichem documentary is presently sitting with a perfect grade (100%; 17 to 0) at the dreaded RT, but it’s really gotten nothing but praise no matter where you look. I thought it framed the Yiddish literary icon engagingly, and I enjoyed the inevitable film clips from “Tevye the Milkman” and “Fiddler on the Roof.” I do like DMD and FGT quite a bit, so it was likely I’d connect with THE HELP indeed.
Yes, Stanwyck is a pre-code giant and one of the greatest of American actresses. BABY FACE is often regarded affectionately as a “trash masterpiece.” I well understand why! Thanks as always my very good friend!
I sympathize with you on that “financial overhead.” Holessense in her comment under the festival report makes some excellent points, figuring in gas, food, and other intangibles. I’d guess off the top of my head this cost you guys in the neighborhood of around eight-hundred, not even counting the Keaton stuff.
But look it this way. You’ll never have this kind of opportunity again. And you made it under the gun–tolls are going up soon!
Your writing and insights again are amazing. I love the paragraph where you group the films by their underlining themes. Lovely poster art.
$800, eh, Fred? Well, you seem to be in the neighborhood with that figure. I’d go with a figure of about $600. The Keatons would raise it up for sure. The opportunity is a one-off for certain though.
Thanks as always for the very kind words my friend.
Sam –
Thanks for link! Now that my musical-viewing marathon is over, I’ve been getting back to the romantic comedy genre that I focus on at my blog. Sadly, the first two I wrote about (the remake of ARTHUR and SUBURBAN GIRL) were disappointing, although I enjoyed CRAZY, STUPID LOVE and hope to get a post up on it soon. Also saw RISE OF THE PLANET OF THE APES, which I loved – a perfect end-of-summer popcorn movie.
Jike Jason, I’m wary of THE HELP. I tried to read the book, but tossed it away after about 20 pages like I was allergic to it. (Something about a white author, born in 1969, writing in heavy, stereotypical African-Amercian dialect just didn’t sit well with me.) The trailers have not made much more interested in the film version, although I do love Viola Davis and Emma Stone. We’ll see…..
Aye Pat, I know you’ve had to set aside some of your more prominant interests to watch musicals for the countdown. I need to read your ARTHUR assessment pronto, though I see it was a major disappointment. Lucille will be pleased to hear of your reaction to CRAZY, STUPID LOVE, which she has been trying to get me to see during all this festival mania. I agree completely with you too on RISE OF THE PLANET OF THE APES, a fun movie. And quite a box office hit too, as I see it captured the top spot again this week.
I have a feeling you will be plesantly surprised with THE HELP, but we’ll have to see. The reviews have been solid, and the film avoids the kind of unflattering stereotypes that we always fear from this material. The performances really shine.
Thanks as always my friend for all that you have done and are doing!
Thanks for the comment and mention Sam! I really appreciate it. I’ll kleep you posted when I have more reviews up. And I am wholly jealous of your time spent at the Pre-Code Festival. What a treat.
Thanks Dave!
I will be keeping an eye out at VISIONS for the updates too. Putting a positive spin on the zaniness of the past few weeks, I will definitely agree with you when you say it was a “treat.” I won’t ever forget it, that’s for sure!
Sounds great! Got the Project Nim review up today! Have a great weekend, Sam!
Great news Dave! I’ll be over there pronto.
Sam, thanks a lot for the generous mention. The Musical Countdown sure boasts of a formidable team, and I sure am looking forward to it.
I managed to watch just one film this past week – a Bengali movie called Kaalbela (though it actually means “Inopportune Moment”, the English name has been kept as Calcutta My Love). The movie, based on a terrific book of the same name (I’d read the novel sometime back, and so really wanted to watch its adaptation to screen), is about “love in the times of revolution”. It follows the life of a student of literature who becomes part of the Naxal Revolution, an urban far-left guerrilla movement in 1970’s Calcutta that wanted to establish a classless, egalitarian society, and had the likes of Lenis & Che Guevara as its idols. And most interestingly, the movement was kick-started by some of the most brilliant students of that era! Suffice it to say, like Red Army Faction in Germany & Red Brigade in Italy, it too met with an all too expected crackdown at the hands of the police.
Its theme of idealism & revolution & fighting an impossible battle aside, a vital thread for the movie happens to be unconditional love that he receives from his college mate, that gives him the courage to forsake a safe future and jump headlong into that impossible battle. The book, which remains a powerful capsule of “a generation lost in space”, had moved me beyond words. The film, though not as good, was still good enough to keep me engaged.
By the way, today happens to be India’s Independence Day.
Shubhajit–
I am very happy to hear of your interest in the musical countdown, especially since I know this is a genre that isn’t everyone’s favorite. But as a number of people associated with the site have found out over the past weeks, there are a good number of treasures that await discovery and cinematic coronation.
Wow, that is some extraordinary description/analysis/treatment of that Bengali film and the socio/political context that informed it’s source material. When I began to read your analysis I thought of “Love in the Age of Cholera” by Marquez! Ha! But soon enough, you parted ways. I’ll certainly look forward to the CINEMASCOPE review–you have done more than piqued my interest!
And I bet the celebrations are underway in your great country! Hope you are doing some partying youself my friend!
Thanks as always my very good friend!
Shubhajit,
On the subject of Indian cinema (although this film is apparently Hindi not Bengali, though they’re both Greek to me):
What are your thoughts on the 1974 film Ankur? I’ve seen virtually no Indian cinema but years ago I saw a still from this movie (featuring the lovely Shabana Azmi) and a brief review, and was intrigued. Recently I finally found it on Google Video or something like that and loved it, enough so that I found a DVD version on Amazon and purchased it.
I understand Shyam Benegal is a widely respected director – are their other of his films you would particularly recommend if I liked this one?
There’s another documentary out there called Over Your Cities Grass Will Grow, which is a study of the artist. If you have plans to see it let me know.
Yep, Bob. That one is at the Film Forum at present and I have tentative plans to see it, perhaps over the coming weekend.
Thank you Sir!
Sam, there are worse ways to spend that money — on most contemporary Hollywood films, for instance. Do I ever envy those days when you could stroll from palace to palace as programs changed twice weekly. Of course, that being the Depression I probably couldn’t see as many as I’d have wanted to. I wonder what pre-Code admission prices convert to in 2011 dollars. You really ought to have gotten some short subjects in the bargain to get the full feel of the era.
Anyway, the Albany Public library got another bunch of Columbia Classics, so I’m just about ready to do another review article. The newest arrivals that I saw this weekend were, in ascending order of quality, Bernard Girard’s The Mad Room, Gerd Oswald’s Screaming Mimi, and Richard Fleischer’s 10 Rillington Place. On the Western front, meanwhile, I was bored by Tay Garnett’s Cattle King, a late Robert Taylor vehicle, and numbed by Frank Perry’s Doc, a revisionist retelling of the Tombstone legend with Earp as the authoritarian villain and the titular Holliday as an ambivalent antihero. It was without energy, drained by Stacy Keach’s introspection, Faye Dunaway’s irrelevancy and an incomprehension of the issues between the Earps and the Clantons. I also examined Kinji Fukasaku’s movie-biz dramedy Fall Guy, a change of pace that earned the crime-genre specialist unprecedented accolades from the Japanese critics. It’s certainly not his best film but its modest efforts to bend reality make it a kind of companion piece to The Stunt Man and mildly enjoyable as such. And as for Keaton, expect to see my review of One Week later this week.
Ha Samuel! Good point about the ‘worse way’ one could spend their money! And this summer and the spring before are perfect examples even with the exceptions (Harry Potter, Planet of the Apes, Bridesmaids and a few others). I would also love to experience those kind of Depression Era cinematic wonderments, though it’s true $$$ was scarce in those days. As to short subjects that’s an interesting idea, though the Film Forum programmers figured the three-for-one on Tuesday nights, where each film is around an hour in length, was a throwback to some of the price policies of the 30’s. I haven’t seen “The Mad Room” but have seen the other two. Few would realize that Gerd Oswald directed 14 original OUTER LIMITS episodes -more than any other director on the show- that included some of the great classics–“Corpus Earthling,” “The Invisibles,” “O.B.I.T.,” “The Forms of Things Unknown,” “Don’t Open Till Doomsday” and “It Crawled Out of the Woodwork.” His best-known film is the color film noir from 1956, “As I Lay Dying.” I guess I “respect” “10 Rillington Place” more than you do, but I don’t think I’ll ever watch it again. It’s as disturbing a film as has ever been made, and Attenborough is horrifying as the meak but lethal murderer. I saw your review on the Fukasaku (I must read it) and well understand why films like DOC and CATTLE KING wouldn’t resonate.
I really look forward to your review of ONE WEEK, one of the truly great Keaton shorts!
Thanks as always my friend for the sensational submission on this thread!
When you put your mind to it, you follow through with the best of em. I could have never summoned up the desire, nor the stamina on a daily basis, and I definitely could not have dealt with that rush hour traffic each and every day for four weeks. But when you get into a routine I’m sure its easier to navigate.
Sue and I finally got to Harry Potter and the Deathly Hallows Part 2. It was a fitting end to the series–one that shot an arrow through the heart. For once I didn’t mind those endless action sequences.
I really want to see Project Nim.
Peter–
The rush hour traffic wasn’t always an obstacle, although it was a problem some of the time. I learned my lesson, and started using the George Washington Bridge as often as possible, avoiding the tunnels and the long pre-tube backups.
That’s a very good way to describe the unusual emotional resonance of the last Harry Potter film! Thrille to hear you and Sue loved it.
I am figuring PROJECT NIM will appear in Montclair soon.
Many thanks my friend.
Another great post and another amazed response to all the movies you attended and I bet there was no frugality in this effort. I decided you must love movies as much as my husband loves cycling. (I started my film festival of Meryl Streep movies with DOUBT, Julie & Julia, and then Momma Mia.
I have read the book THE HELP but did not know it was now a movie…I bet there could be some humorous moments in that movie. The book was amazing and sparked much discussion at my book groups.
So much work in the garden, I must be back to it and then write my next post.
Looking forward to the music series…WOW
Glad your family was able to go with you and it was a good gathering.
Thanks Patricia!
Yes, it’s been an utterly hectic time. I’ve rested up the last two nights, and will pick my spots in the upcoming weeks. Lucille has asked me to take her to see CRAZY, STUPID LOVE tomorrow night, and I will of course agree to it. She deserves a hundred movies after her loyalty to me over the past weeks. Most of the time however, must be directed at writing my share of the essays for the upcoming musical countdown that commences this coming Monday and runs into November. As far as your Streep festival, you have starte dit off well with those three. My two daughters are big MOMMA MIA fans, and I don’t mind it at all either. I like DOUBT the best of the three though.
If you read the book of THE HELP Patricia, you must see the film. There’s plenty of humor, and some acute poignancy.
Thanks for the enthusiasm for the music series and the kind words my friend. Much appreciated as always!
Melissa Harris-Perry, an African-American professor at Tulane, really unloaded on ‘The Help’ on MSNBC’s ‘The Last Word’ with Lawrence O’Donnell last week, vilifying it as ‘ahistorical’ and ‘troubling,’ all of which makes me uneasy, though any film with Viola Davis can’t be all that rotten, can it? What a fine actress she is.
I devoted this past weekend to some early (pre-Hollywood) Hitchcock bought cheap at Wal-Mart (yes, I was slumming at Wally World with the barbarian hordes).
First, there was the slightly silly ‘Jamaica Inn’ (1939), with its Dickensian band of thieves and rotters, and with Charles Laughton playing a foppish country squire like a cross between Oscar Wilde and Dame Edith Evans. What a showboat!
On the evidence of films like the silent ‘The Lodger’ (1926 — Hitch makes a rather large, slippery red herring out of Ivor Novello’s oddball lodger) and ‘Blackmail’ (1929 — Hitch’s first sound film) I’m not sure how Hitchcock escaped typecasting as a small-time director of tabloid sex crimes, Scotland Yard policing and Cockney gossip melodramas, with the occasional O. Henry twist. Well, he relocated to Hollywood, that’s how, and with the star power and acting prowess of the likes of Ingrid Bergman and Cary Grant, Eva Marie Saint and Cary Grant and Grace Kelly and James Stewart he directed divine entertainment like ‘Notorious,’ North By Northwest,’ and ‘Rear Window.’
Still it’s fun to watch these early, primitive British thrillers, with the knives menacingly toyed with and fondled, and blondes dispatched one by one in the London peasoup a la Jack the Ripper. In ‘The Lodger’ June even strips down for a bubble bath (‘Psycho’ anyone?).
Well, Sammy boy, I’ve got a ton of films queued up incl. ‘Fists in the Pocket,’ ‘Il Posto,’ ‘The Red and the White,’ ‘The Left-Handed Woman’ and ‘The German Sisters’ (thanks very much to Allan and yourself), and ‘The Seven Year Itch’ (thanks to Jim’s essay). Later, my very good friend(s) ~~
Mark–
I am not at all surprised that “The Help” has received some serious vitrol in the African-American community, much as “Driving Miss Daisy” did. The subject matter by it’s inherent nature is condescending, though the intent of the novel and film was to examine the deep bond between emp[loyers and their help. Viola Davis is indeed a reason to see this solid drama, but some others in the cast match her.
I laughed when I read that you were “slumming it” at Wally World! Ha! We have one of those stores real close to us, and Lucille is always there for one reason or another. The selection isn’t bad and there are some decent buys like the one you just took advantage of. Love your engaging (and hilarious) description of Charles Laughton and “Jamaica Inn.” It’s definitely one of Hitch’s worst films (I know Allan has no use for it either) though it could reasonably be argued that any film with Laughton in the cast can never be seen as completely disposable. But yeah, you are right when you say “what a showboat!” The 1929 “Blackmail” is actually a very good film, but you explain perfectly why Hitch was able to escape the label you thought was once inevitable by getting Hollywood star power and first-rate scripts which he almost always inspired. Yes “The Lodger” is a lot of fun!
You got some great stuff lined up there Marc, and more is heading your way!!
Wow. FISTS IN THE POCKET eh? I can’t wait to discuss that one. Our good friend Joel Bocko wrote SOME review on that months back. it’s here at the site!
Thanks as always for the sensational comment on this thread my friend!
The Hitchcock set featured 20 movies (actually a few are episodes from Hitch’s TV show), including the indispensable ‘The Lady Vanishes’ and ‘The Thirty-Nine Steps.’ All for 5 bucks!
Mark, if the quality is acceptable, heck you can’t beat that!
Oh, and I watched ‘Fists in the Pocket’ last night and frankly don’t know how to react. On first viewing (I’m watching again tonight) the film seems overly hysterical (not the same as operatic, though the ending with ‘La Traviata’ blaring on the soundtrack is stunning). I think one epileptic in the family would’ve been quite enough, but Bellocchio treats us to the writhings of a double. Of Bellocchio’s cinematic talent there is no doubt. ‘Fists’ convulvsive style reminded me a lot of Godard and ‘Breathless,’ the camera’s frenzies replicating the characters’ inner turmoil, but at times the horror of the story turns parodic and I don’t think (at least on one viewing) that Bellocchio intended to direct a black anti-bourgeois comedy in the vein of a Bunuel. He’s certainly anti-bourgeois, but ‘Fists’ is loaded with militantly serious intent, meant to unsettle, and Bellocchio is Marxist to the core — here he’s like Antonioni on steroids. Maybe that’s the problem. I see Godard and Bunuel and Antonioni expertly utilized on gothic horror material out of Robert Aldrich. Call it ‘Hush, Hush Sweet Liliana.’
Maybe I’m just too bourgeois. I may completely reverse myself on a second viewing (it’s been known to happen). I’ll definitely let you know.
Yep, Mark, the use of Verdi there is stunning, as is the entire early Morricone score! FISTS is as bleak and subversive a film as we have, and it’s condemnation of bourgeois values and religious tenets. But the perversity is enthralling and the ferocious acting wholly riveting. Bellochio’s work here recalls Pasolini and Bertolucci and the tragicomedy underpinnings envision Ferreri. The film is a landmark of Italian cinema, but I can fully understand why this perverse work would be difficult on first viewing. You may well think differently down the road.
Here’s Joel Bocko’s extraordinary October 2010 essay from his “Sunday Matinee” series:
https://wondersinthedark.wordpress.com/2010/10/17/the-sunday-matinee-fists-in-the-pocket/
No, no, you’re right. I’ve always viewed it as a bizarro New Wave Horror film (which makes it almost singularly unique as the New Wave’s didn’t like Horror [outside of Japan, and Eastern Europe and to some degree America, there were no New Wave Horror films]) and your Aldrich comparison is an interesting one (I love many of those early 60’s Horror films from America– Crazy Bitty Films I think is what the sub-genre is). I’ve always considered FISTS IN THE POCKET to be a distant cousin of Fuller’s SHOCK CORRIDOR, not similar at all but there’s something within the aesthetic, the atmosphere that connects the two in my mind.
Jamie–
Mark’s comparsion there to Aldrich in particular is quite on-the-mark, as is your own broaching of that Fuller.
Mark, you’ve hit on a couple sweet spots for me here (Sam directed my attention to the comment via an email due to the Fists in the Pocket mention).
First of all, the Hitchcocks – I’ve actually been doing the same thing lately. I too purchased a cheapo Hitch compilation at Wal-Mart – in fact taking a second look it’s the EXACT SAME ONE you did (I’ll bet I outslummed you – I dropped $60 on discs, but got quite a bargain – something like a dozen DVDs) and decided to do a Hitchcock retro over the next few months, from The Pleasure Garden to Family Plot. Right now I’ve reached The Man Who Knew Too Much (original version).
I think Hitch’s best period was definitely in America (who doesn’t? other than maybe Barry Norman…) but don’t forget The 39 Steps and The Lady Vanishes! The latter, in particular, I find tremendously entertaining and comparable to his best Hollywood features. The Lodger and Blackmail show his potential, but the big surprise for me was The Manxman, which I think might actually be the strongest film of his first decade: a standard melodrama on the page, but fantastically controlled, the summit of his silent powers – at least with the exception of the silent Blackmail which I haven’t seen but whose horn Allan toots repeatedly.
Another interesting film of his was Number Seventeen – the first two thirds are chaotic and tedious but the climax, on a speeding train, gives us the first inclination of the thrilling set pieces Hitch would prove himself capable of. Other surprises for me were a couple minor films I enjoyed more than expected, trifles in his overall oeuvre but surprisingly solid: The Skin Game (I’m a sucker for its theme: the tensions between the rising industrialists and the old landed class) and the standard but engaging Waltzes from Vienna, which gave the Master of Suspense an early opportunity to flex his muscles at coupling music with image, something that would later turn out to be a strength (still, it’s understandable he never dabbled further in the musical genre, to which this film sort of belongs). I think both were also helped by the presence of Edmund Gwynn, an actor I find immensely appealing even when he’s playing a jerk, as he does in both movies.
Speaking of fusing horror and comedy then, to pivot to Fists in the Pocket – my take was slightly different from yours – inasmuch as I didn’t see its horror sliding over into parody as it went along, but rather the reverse: I was laughing along until the laughter stuck in my throat. That said, I never considered it part of the horror genre until Jamie brought up that point last fall, and I’m still bummed it didn’t make the horror countdown (knowing his love for the film, I thought it would be top 10 but I guess he got outvoted) as I would have loved to read that piece.
Tony unearthed an interesting exchange in the thread under that piece, by the way, between Pasolini and Bellochio. I quote:
““Pasolini wrote [to Bellochio] that if his [Bellocchio’s] aim was to scandalise the bourgeoisie, he should be aware that they are vaccinated against whatever scandal, and if anything, scandal gives pleasure or pain only to the artist and his sympathisers. Bellocchio replied that his main purpose was not to offend, but to objectively describe the social reality that determined the protagonist’s choice of delinquency.”
As far as the identification of Bellochio with his protagonist goes, I think it’s ambivalent: on the one hand he relishes Ale’s ferocious energy, on the other he recognizes that he preys on the weak and vulnerable for selfish reasons – ultimately this is not the barbaric yawp of an anarchist but the pitiless and self-loathing brutality of a fascist.
A great, great movie. And damn if Paolo Pitagora isn’t the most gorgeous thing I’ve ever seen…
Yes, I was indeed outvoted. I placed FISTS at number 30, but mine was hte only list it appeared on.
https://wondersinthedark.wordpress.com/2010/10/31/final-lists-top-100-horror-movies-of-all-time/
I’m set to do a Top 500 Horror films list, where it will no doubt slide a little, but I think it’s still definitely top 60 for me.
Sam – I loved, absolutely LOVED, reading the book version of THE HELP.
I’m oh-so-hoping that the movie will do it justice — and not gloss over the grave, unspeakable injustice. We’re hoping to see it in the theater this week.
Laurie–
I haven’t read the novel, but am very happy to hear it was so enthusiastically embraced! As I stated elsewhere here I think the fears in regards to way the material is handled are understandable. But in the end, the film stays cleared of the pitfalls in any film set in the south during the ghastly racial crisis of the 60’s. This is a film about relationships, and one that moves.
Thanks as always my great friend!
hey Sam, great write-up on the pre-code film forum season. You are mighty lucky to it so close to you. I’ve been around, reading Allan’s reviews and checking in daily, but for most of the last month I was fixated by the incredible Murdoch scandal. It’s been a 20 year wait, but the man has finally started to get the come uppance he deserves. Just when he had got the new Tory leadership to make the most drastic and savage cuts in the history of the BBC, to gut the regulator of any powers and to okay multi-billion dollar takeover of the satellite broadcaster – the most remarkable turnaround occurs and a slew of scandals ensues. As Astaire once sang; “I’m in Heaven”….
I did grab some movies in there;
A Star is Born (1954)**
– James Mason is absolutely terrific and the opening, which superbly catches the electric charge of the premiere and final are quite brilliant. And Garland can sure belt out a song, unfortunately, it’s hard for me to think that she’s not been miscast and 15 years past her prime for that role; it’s like mutton pretending to be baby lamb for two hours.
Winchester 74**
– A tough-minded western which has the titular gun moving from character to character but keeps it’s plot tight enough so that Jimmy Stewart is involved most of the time or at least near the action.
Let’s Talk About the Rain (2008)*
A pleasant little film set amidst Gallic middle-class life. that gives the impression of having been improvised. It’s bemusing but plotless and waywardly amiable.
The Hour
An expensive 4 part series set in the late 1950s and about a young and inquisitive reporter at the BBC who wants the Corporation to be provocatively searching in it’s questioning of the news and who has himself got caught in dark forces. The period look is detailed and beautifully rendered, but the whole enterprise is hampered the lead male and female characters – who don’t inhabit the times at all and are mouthpieces for modern attitudes. It kills the thing dead. Touted as the BBC’s response to ‘Mad Men’ – that it ain’t.
Great to see you back here Bobby, though I know you are here checking on this regularly. (very much appreciated of course!)
I am intrigued that the Murdoch scandal has held center stage with you during all the terrible rioting and looting in your country the last two weeks. But you may be right not even to broach these disturbing events, and the Murdoch scandal is far more intricate and fascinating. Do you profess an early preference for “Top Hat” my friend? It’s a classic in every sense! Ha! But as Murdoch heads up our local conservative (rag) the sensationalist right wing New York Post, you can be sure I’m not sulking.
Perceptive analysis of the 1954 “A Star is Born.” Interestingly enough, even with my general love for the movie musical, I always found the 1937 non-musical version with Janet Gaynor and Frederick March as the stronger film. But I completely agree with you onh Mason and the electricity in the beginning and ending. That’s undeniable.
The gun moving in “Winchester 73” is an effective unifying symbol, and all in all the film is one of Anthony Mann’s quartet of masterpieces in the genre with “The Naked Spur,” “Man of the West” and “The Man From Laramie.” But yep, the plot is tight and Stewart is wholly engaging, as are Dan Duryea and Stephen McNally. Williams H. Daniels’s black and white cinematography is magnificent too.
As to “Let’s Talk About the Rain” I haven’t seen it, but appreciate the frank dismissal. As you may have noticed on this thread discussion was already initiated on the BBC HOUR, and there seems to be some interest. I see what you are saying–it looks great but is betrayed by the lead characters, who parrot modern attitudes. Fair enough. I was in no rush to see it previously.
It’s always aspecial treat to have you here Bobby! Many thanks my friend!
In a gluttonous movie-going week during these dog days of summer I attempted to rival Sam’s movie-going prowess.
In theaters, I saw:
Rise of the Planet of the Apes — **** (reviewed at The Spin)
Horrible Bosses — ***1/4 — pretty damn funny and just what the doctor ordered for me and some work friends on a weeknight
The Guard – ** (reviewed at The Spin)
Sarah’s Key – **** (reviewed at The Spin)
Through Netflix, I saw:
13 Assassins — ** — a period-piece actioner snooze fest
Casino Jack — **1/2 – a mildly interesting biopic of Jack Abramoff
That is all
David–
I ported this comment over from the Pre-Code thread, where it was accidentally posted. But I could have just left it there as both posts are legitimate in leading up to your responses here.
I read and saw your RISE OF THE PLANET OF THE APES review which was excellent. I largely agreed with you on the film as well. That’s about right with CASINO JACK, but we differ substantially on 13 ASSASSINS, which I found brilliantly choreographed and gleefully visceral. I want to see SARAH’S KEY (will check out your review) and expected as much from THE GUARD. I’m surprised at the 3 1/2 for HORRIBLE BOSSES—I’ll have to check it out at some point. You had some week though! Wow!
Thanks as always my very good friend!
Sam – thanks for putting my comment in the right place! I’m still in a tizzy from all my movie-watching this past week – ha ha. I don’t even know where I am.
I look forward to your reaction to Sarah’s Key – as I know you always have strong opinions and thoughtful reactions to films of this ilk. I was floored by how powerful it was. I couldn’t stop thinking about it all day today. It’s a shame it was dumped into the summer movie season, as it’s the type of film that needs time to breathe in the fall where word of mouth is more apt to spread and people are in more serious moods.
David—
You’ve definitely sold me on SARAH’S KEY!!! I am figuring I’ll see a late show on Thursday night, as tonight I promised Lucille I’d watch CRAZY STUPID LOVE with her, and then tomorrow night is ODDS AGAINST tomorrow at the Robert Ryan Festival (Film Forum) and a re-viewing of Tony’s terrific review at FILMSNOIR.NET.
After the marathon you just finished it’s hardly a wonder you might have lost your bearings a bit!!! Ha!
Thank you so much for the kind words and the link, Sam. I’m honored. Glad that you saw SEVEN CHANCES again. What a great, relentless film!
I didn’t watch may films this week, but I did catch up with Anderson’s O LUCKY MAN! which was all kinds of awesome.
Cheers!
It was an honor from my end too my friend! That is some great post sitting atop THE SEVENTH ART!
I reallu love SEVEN CHANCES–more now than ever. And I think my kids prefered it. The hundreds of womaen chasing Buster had then in stitches!
Lindsay Anderson’s O LUCKY MAN is a great one for re-viewing!
Thanks again my friend!
Thanks for the plug on my pre-Code rarity. I seem to be in rarity heaven this week, with NOIR CITY 3 starting up on Friday. So far, I’ve seen High Wall, Olivia de Havilland in a dual role in The Dark Mirror, a proto-Godfather film starring Broderick Crawford and the great Richard Conte called New York Confidential (just out on DVD), Alan Rode’s holy grail Charles McGraw film Loophole, a great grifter story with John Payne and Shelley Winters called Larceny, Eddie Muller’s holy grail film The Hunted, and super rarity with a Laura-liked story starring Alan Ladd and Donna Reed called Chicago Deadline. All were newly struck 35mm prints and all were well worth seeing, though Larceny and New York Confidential were my favorites so far. Four more to go. It has been great fun seeing all my film friends, hanging out with Alan Rode, and watching some great films. Oh, and I took my 13-year-old nephew to opening night (High Wall/Dark Mirror) and he loved the films – a totally new experience for him. He also liked Went Well the Day? the night before at the Siskel Center. I’m so pleased to have a (maybe) a budding film buff in the family.
This is definitely ‘rarity’ time for you Marilyn, and for me the time period is precisely the one that has piqued my interest this summer!
I know both de Havilland’s “The Dark Mirror” and the Crawford/Conte vehicle “New York Confidential.” As to “Loophole” I was just alerted to this at Dee Dee’s place by her guest writer dan who offered up a capsule review after attending the very festival you broach here. (in fact I see he talked about “New York Confidential” “Larceny,” “The Hunted” and “Chicago Deadline” as well on news-breaking posts… noirishcity.
But I’m sure that the (hopefully inevitable) upcoming posts at FERDY-ON-FILMS will offer the usual comprehensive take on these films and the festival in general. Wish I were out there! Ha! I completely concur with you on the quality of “New York Confidential.” it may not be in a class with WHITE HEAT (it is an expose after all) but it boasts some great set pieces and performances, even by Crawford. I am wondering Marilyn if the print you saw was the same one used for the recent DVD release? Regardless though, no DVD can match the way you saw it–that’s for sure! I have not seen Eddie Muller’s Holy Grail film “The Hunted,” which I am hoping will soon get a legitimate DVD release (especially in view of Muller’s clout). I think Muller may have been instrumental in getting “The Prowler” out there (a DVD I won in your FoF contest!)
Alan Rode???
Is he the one who has done running commentaries for some of these noir releases? He may have even done the one for “New York Confidential,” though I must re-check.
Wow. Nice!!!
Your nephew liked that Cavalcanti? He’s my kind of kid, as I just recently watched it at the FF and fell in love with it all over again. Now get him to check out Roderick Heath’s incomparable review, and he’ll really be set! Ha!
But a film buff in the making indeed.
Thanks as always my very good friend for the terrific report.
Yes, Alan did the commentary, along with Kim Morgan (AKA, Mrs. Guy Maddin) on New York Confidential. I don’t really know where the DVD master came from, but we’ve seen nothing but clean and crisp prints all during the festival. And I have a correction. I have a nephew, but he’s not who I took – it was my grandson (via my second husband). Sorry, Jacob, but you’re still the best.
I don’t know how many I’m going to write up – things are a little hectic at chez Ferdy – but be assured I will be covering some of them.
Correction on your grandson noted there Marilyn!
I know things are hectic with the writing as of late; that’s an understatement. But I’ll be watching.
Jamie Uhler just mentioned to me that he was sorry he missed that Bogart film, but is planning to a see a gothis horror noir “Among the Living” tomorrow.
Anyway, thanks again!
Hello Sam and everyone! I’ve just posted the first day of the blogathon and I’ve just received an original and new essay for the blogathon. Thanks a lot for promoting this personal yet communal endeavour, your support has been exceptional, as well as the linkage to the last of my Kelly-related reviews, those have been worked for a time (some are, but some aren’t, telling the truth). So, yeah, thanks and everyone reading this… I’m still accepting essays, posts on your blogs, anything, the email to send is at my blog, at the right (it’s a gmail).
So, you had the ending week of madness, I suppose, you’ll take a rest and next diary we’ll only see 10 films, because it’s for resting, so 10 is enough, after all those weeks, you need a congratulatory pat on the back and a round of applause. Of the movies you saw, “Seven Chances” and “She Done Him Wrong” I just need to see, since they sound like excellent films, and about “The Help”… the jury’s still out if I’ll end up seeing it or not. Also, good luck on the musical countdown, looks fabulous!
My week, well… monday I had to go to the internship, to the Tv channel, to end some shooting for the recreations, we ended early, but I had to appear on screen for a while, so all’s well. Tuesday was decessive, we had a march, a protest for education, and we got the support of our teachers so we could go on strike and march on the streets. I ran from the police and their repression as well as the stink grenades they threw, it was chaos and we were a pacific demonstration of what we want, and they reacted violently: fascist right-wing governments can’t help but show their darker, violent sides. On wednesday my girlfriend had lunch with me, and thursday I knew that the faculty I’m supposed to have classes on Friday was taken by the students, so I won’t be having classes there for a while, which is good for the fight. On sunday, I went to my cousin’s birthday with my girlfriend, good times.
So, movie wise, I saw:
– The Greatest Movie Ever Sold (2011, Morgan Spurlock) **** This funny documentarie takes a challenge for its funding and also tries to make a speech on how commercials and product placement affects the movies we see, based on how much time we spend watching an advertising more than a movie. This movie felt how it should be done, how the publicity is needed, but it needs to be put on the trail of the film without it to be intrusive, but also being aware that it’s an advert, like the halftime adverts in the film.
– Green Lantern (2011, Martin Campbell) **** Not as bad as many would say and affirm. This was seen at the avant premiere (I got tickets at the Comic Con Chile) and went with my girlfriend tuesday evening. It was well done and it was interesting to feel this mithology unfold itself, as well as see some good acting from the cast, specially from Sarsagaard. It was seen in 3D, which felt dim, but at least not distractive on your face, like many. Worth watching, I’d say.
– Magic Trip (2011, Alison Ellwood, Alex Gibney) ***1/2 Intringuing documentary of a supposedly well known fact in which I had no prior information, it felt like a drug filled trip to the past that was interesting for a while, but fell into the anecdotic, but still it was visually compelling, and throughly well done.
– A Beautiful Life (2011, Wai-keung Lau) *** The Chinese Melodrama is a subgenre on its own because of its soap opera circumstances it ends up falling into. Still, it has some good acting and it engages you for a while, but it feels overlong and unnecesarily tragic for all the things that happened to the chinese couple.
– Prom (2011, Joe Nussbaum) *1/2 Nothing. This movie was nothing. It was made with no purposse, its audience fails to understand how it appeals to them, the movie has no sense whatsoever, the acting is awful and the whole thing sucks monkey fuck, as someone I know would say.
– X (1963, Roger Corman) **** Full of science! Interesting and visually impressive scifi horror film about how science shouldn’t go in some ways that are forbidden to us. The final scenes feel eerie, as if the protagonist knew of something that’s beyond what we can comprehend. I liked it a lot.
Thanks again Sam, and let’s continue to victory!!!!
“I ran from the police and their repression as well as the stink grenades they threw, it was chaos and we were a pacific demonstration of what we want, and they reacted violently: fascist right-wing governments can’t help but show their darker, violent sides.”
God Jaime, it’s the 60′s all over again down in Chile! But you need to ensure your safety first and foremost, as your descriptions there are rather disturbing. Your cause is irrefutable, and I do hope the apparent fascist-leanings of that government are mitigated by democratic protests. Sadly, despite all the wonderful things you say in your all-encompassing comment, this stick-in-the-mud event is the one that resonates the most, and not in a good way. Please be very careful my friend. My sentiments of course are in complete agreement with your final words: “Let’s continue to victory.”
Good to hear you had a good time with your girlfriend at the birthday party, and that you againn made some creative progress at university, especially with the appearance at the TV station.
Yes, “She Done Him Wrong” and “Seven Chances” are five-star masterpieces, and must be seen. I’ll see what I can do on that front. Ha!
What with the musical countdown at WitD now upon us, I’ll admit things are tight here, and I am unable to do all that much for the Richard Kelly blogothon that you are working so hard at, but to be honest he’s one director I’m not all that familiar with, even though I have always thought DONNIE DARKO a significant independent work. I am hoping some will chime in here! You deserve all the support that you can get.
I will let your superlative capsules speak for themselves, as by George I have NOT seen the first five films you engagingly assess. (they are all 2011 releases after all, and haven’t appeared here yet in theatres.) Mind you I wouldn’t see them all, especially not PROM. But the Campbell and Spurlock are most intriguing.
Good observations on the Corman. I would go with **** as well.
Thanks again for a spectacular wrap my friend. Best of luck with the Kelly blogothon, and be sure to insure your safety during that Santiago unrest.
I saw a chilean film, “Violeta se fue a los cielos”, about a famous folk singer from our country, which was deemed a communist because she felt that people came first, and not the rich. In a scene, an interviewer asked: “Are you communist” “Of course,” she said “I’m so communist that if I shot myself, my blood would be red”. “Mine too” says the interviewer. “Ah, my friend!” she said shaking his hand.
It’s not about politics, as many people in the government want to think, it’s about what we care the most, we’re not communists if we fight for a better education: free and of quality. We’re just human beings requesting our rights to be respected.
Sam, your link for Jon’s review of A Serbian Film actually links to Craig Kennedy’s review of same at Living in Cinema.
Ah ha Joel, thanks for alerting me to this. I will change it right now.
Thank you, Sam, for the plug.
“Seven Chances” is one of my favorite Keatons, with its surrealistic images and actions. Keaton used silent cinematic space to the full. It must have been a real joy to see the film on screen.
I will look into your post on PreCode madness. Even these films are already a trove of hidden treasures, there are many films of this era buried under and forgotten. I sincerely hope PD status will not hinder the re-distribution. Though most of them were simple programmers, they have such incredibly lively quality of the era.
I saw Fritz Lang’s Fury and John Woo’s A Better Tomorrow this week. I looked up the actual event on which Lang’s film loosely based. It’s a horrible event, but probably because of that, I imagine Lang had quite hard time to make it onto a screen. Do you know?
Hope the weather will cool down a little bit.
MI
Thanks as always MI for the stellar submission on this thread!
I only realized these past weeks how truly great SEVEN CHANCES are in the Keaton pantheon. I had previously rated it highly, but oinly now after the big screen viewing (perhaps in large measure because of your brilliant assertion of the great use of ‘cinematic space’) but also because the central gag of the legion of women chasing down our hero, which is timeless. It really was an excellent film to close the festival with, as for many it’s the one that will be best remembered. But yes, the surrealistic images are striking here.
PD status is always an obstacle for proper release, but it seems as of late that the smaller companies are bringing out the rarer titles, even if in some instances they are stealing the work of the larger ones, whose previous releases have been discontinued. True too that some of the ‘simple programmers’ are now seen as evincing ahigh level of quality. The Warren William films have really stood the test of time, for one!
FURY was indeed an event that would be difficult for any director to navigate, and I would imagine this is doubly true for Lang in those early days. It’s a powerful work for sure, a fact that I’m certain wasn’t lost on you. I haven’t yet seen that particular Woo film as of yet though.
Thanks again as always my friend!