Archive for November 8th, 2011

by Tony d’Ambra

“Gone are my blues
and gone are my tears
I’ve got good news
to shout in your ears
The long lost dollar has come
back to the fold
With silver you can turn
your dreams to gold

We’re in the money
We’re in the money
We’ve got a lot of what it takes
to get along!
We’re in the money
The sky is sunny
Old man depression you are through
You done us wrong!”

Ginger Rogers cute as a button hits the screen in medium close-up straight after the opening credits. She ain’t glamorous but she overflows with an effervescent charm that has you reeling as she bounces into ‘We’re In the Money’, one of the most ironic and catchy songs ever recorded on celluloid. The girl next door has rhythm!  After the camera moves away to a cheeky cavalcade of chorus girls greeting the audience in close-up, Ginger returns to set-off Busby Berkeley doing his thing abetted by the brilliant music of Al Dubin and Harry Warren. And what a thing! You just want to grab one of those bikini-ed babes and start dancing – big 1993 ‘coins’ simultaneously hide and focus attention on their ‘assets’.  The girls are rehearsing a number for a new Broadway show, but before they finish the Sheriff has raided the theater and confiscated all the girls’ accoutrements.  The producer has run out of dough and the girls are out of a job. Old man depression still has some life in him yet. (more…)

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by Allan Fish

(USA 2011 139m) DVD1/2

The way of nature and the way of grace

p  Dede Gardner, Brad Pitt, Sarah Green, Grant Hill, Bill Pohlad  d/w  Terrence Malick  ph  Emmanuel Lubezki  ed  Hank Corwin, Jay Rabinowitz, Daniel Rezende, Billy Weber, Mark Yoshikawa  m  Alexandre Desplat  (including Holst, Berlioz, Smetana, Mozart, Tavener, Preisner, Brahms, Bach, Schumann)  art  Jack Fisk 

Brad Pitt (Mr O’Brien), Sean Penn (older Jack), Jessica Chastain (Mrs O’Brien), Hunter McCracken (young Jack), Laramie Eppler (R.L.), Fiona Shaw (grandmother),

At Cannes in 2011, two films by two accepted cinematic visionaries were expected to fight it out for the Palme d’Or.  As it happened, Lars Von Trier’s outburst ensured that Malick’s film won the final as it were on a bye, by default.  Something tells me that had it not happened, Von Trier might have taken away the prize, and yet while Von Trier’s film is majestic in its own right, there can be no right which was the more ambitious work. 

            Those who know Malick know not to really come to see plot unfold.  People to Malick are like infinitesimally small life studied under a microscope, but not the high-tech machinery of a laboratory but the all-seeing 20-20 eye of the infinite.  For what it’s worth the main protagonist is Jack, a fifty-something man in a modern American city who, as part of what can only be called a period of reflection, looks back on his childhood in the 1950s, growing up with two brothers, their mother and their stern, disciplinarian father.  (more…)

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