Keira Knighley and Michael Fassbender in David Cronenberg's superb "A Dangerous Method"
by Sam Juliano
America’s turkey population was greatly diminished in the past week, but alas, life goes on, and next it’s the evergreens that will take a hit as the holiday season is officially underway. Dee Dee’s Thanksgiving greetings represented the site’s spirit for November 24, and hopefully all had a wonderful and relaxing day, most of all our peerless friend.
It appears that the site is seriously considering a John Ford retrospective for early in the new year, and the director’s most distinguished on line adherent, Peter Lenihan, a long time friend of WitD, who is presently on assignment in the Far East, may be aboard for some definitive analysis of the directing titan. Perhaps in late February, Stanley Kubrick will be getting the spotlight, courtesy of Dennis Polifroni, who has volunteered to chair the project. Stay tuned on both the Ford and Kubrick projects!
In the meantime it has been business as usual at the site, with Jamie Uhler’s 51st installment of his “Getting Over the Beatles” series yielding what may well be the masterpiece essay, Jim Clark’s fantastic analysis of Bunuel’s Viridiana, Bob Clark’s superb essay on A History of Violence on page and screen, and two more buffo entries in the Fish Obscuro series, include one of the highly-regarded pre-coder The Bowery. The great “Fixing a Hole” series, posting on Sunday, also offered up some fantastic writing.
The prestige movie season offered up what may well be the most distinguished week of the season, and by and large the results were most impressive. Two of the films seen (HUGO and A DANGEROUS METHOD) are likely Top 10 finishers, while at least two others are well regarded and can still place with a change of heart) and the silent Monday series at the Film Forum featured the classic BEN-HUR from 1925 with piano accompaniment by Steve Sterner.
Lucille and I (and some of the kids for most of the screenings) watched:
Hugo **** 1/2 (Wednesday evening) Edgewater multiplex
A Dangerous Method **** 1/2 (Thursday night) Landmark Sunshine Cinemas
The Artist **** (Friday evening) Angelika Film Center
My Week with Marilyn *** 1/2 (Friday evening) Angelika Film Center
House of Pleasures **** (Saturday night) IFC Film Center
Ben-Hur (1925) **** 1/2 (Monday night) Film Forum
The Muppets **** (Sunday night) Edgewater Multiplex
Note: Will return late tonight with report on “Muppets”
David Cronenberg’s A DANGEROUS METHOD defty weaves cerebral, literary and historical elements in a lushly-set and attractive film that takes full advantage of some excellent performances by Michael Fassbender, Viggo Mortenson and Keira Knightley, while establishing a fascinating look at the relationship between Jun and Freud, in a film unlike anything the director has ever done, but not at all in a bad sense.
George Melies was a French pioneer in the development of moving pictures and was a centerpiece in Brian Selznick’s Caldecott Medal winning “The Invention of Hugo Cabret,” a book that begged for the attention of director Martin Scorsese, who brings all kinds of wonderments and a loving homage to HUGO, a beautifully shot and adorned film about rediscovery. It’s an emotional powerhouse that opens spectacularly (much like Vidor’s THE CROWD’s famed early sequence) by having the camera race in through snow to capture the Eiffel Tower and then up the center standing dock between two trains to a large railway station and an overhead clock, finally to the face of a young boy behind it. Sure, midway through it is slightly padded, but overwhelmingly this is a film that celebrates childhood, resilience, and the power of love and acceptance, with the adult appreciation of silent cinema and the creative mind. It’s a triumph for Martin Scorsese.
It would be hard to imagine that there is a better-trained dog than the one that appears in the French black and white “silent” film THE ARTIST, but that’s only one of many delights in what is mainly a charming and exhilarating film. True, it’s all surface glitz, and it never probes deeper in the silent movie phenomenon, but it’s a stylish, original work that may well be enhanced by repeat viewings. It will make stars out of Jean Dujardin and Berenice Bejon.
Michelle Williams may not bring that voluptuous look to Marilyn Monroe, but she’s marvelous in the role in MY WEEK WITH MARILYN. Kenneth Branagh as Olivier is admittedly mean-spirited, but he’s engaging still, and Eddie Redmayne is endearing. One might have hoped for more, but it’s still as entertaining and solid enough film.
The French HOUSE OF PLEASURES enters the world of turn-of-the-century brothels, with some stark imagery, but it’s progressive too with split screens and a modern soundtrack, and narratively there are some arresting sequences in painting this phenomenon is wholly explicit terms.
THE MUPPETS was a spirited and infectious homage to the children’s phenomenon.
The silent BEN-HUR does not match the 1959 version for a host of reasons, but it’s still a landmark for the sets, lead performances and celebrated sequences. Having Steve Sterner provide the piano accompaniment was a real treat for this Monday series.
Asa Butterfield and Ben Kingsley in Martin Scorsese's magnificent "Hugo" based on Caldecott Medal winning children's book
Screen cap from charming and exhilarating "The Artist"
Here are the blogosphere links:
After his towering contributions to the musical countdown in every capacity the gifted R.D. Finch offers up his own musical list at The Movie Projector: http://themovieprojector.blogspot.com/2011/11/my-favorite-musicals.html
John Greco has penned a terrific review of John Frankenheimer’s “Seconds” at Twenty Four Frames: http://twentyfourframes.wordpress.com/2011/11/25/seconds-1966-john-frankenheimer-2/
Tony d’Ambra evokes Cream in his latest poetic post at FilmsNoir.net that considers the film “Devil in A Blue Dress”: http://filmsnoir.net/film_noir/femme-noir-in-her-own-mad-mind-shes-in-love-with-you.html
Laurie Buchanan, reaching a blogging milestone at Speaking From The Heart, has announced a resumption of a series covered earlier in the year, promising even deeper examination. Her new post it titled “Zodiacally Speaking”: http://holessence.wordpress.com/2011/11/17/zodiacally-speaking/
Dee Dee has posted a wonderfully informative and engaging piece on the origin of lobby cards at Darkness Into Light: http://noirishcity.blogspot.com/2011/11/holding-auctiontaking-look-at-eleven.html
Jon Warner has authored a brilliant essay of Michelangelo Antonioni’s “Red Desert” at Films Worth Watching: http://filmsworthwatching.blogspot.com/2011/11/red-desert-1964-directed-by.html
At Ferdy-on-Films Roderick Heath has penned an exquisite takedown of Stephen Soderbergh’s “Contagion” that is a must-read whether you are a fan of the film or not: http://www.ferdyonfilms.com/?p=12311
At Roderick Heath’s literature blog, English-One-O-Worst, the great writer takes on the Bard’s “King Lear” and the result is a scholarly masterpiece: http://englishoneoworst.blogspot.com/2011/11/what-he-rightly-is-king-lear-as-king.html
Pat Perry evokes Woody Allen and Central Park in her poetic and picturesque post at Doodad Kind of Town, wishing her readers a Happy Thanksgiving: http://doodadkindoftown.blogspot.com/2011/11/i-recall-central-park-in-fall.html
Jaime Grijalba, greatly valued friend and colleague, has posted a trailer for the new “Girl With the Dragon Tatoo” movie at Exodus: 8:2: http://exodus8-2.blogspot.com/2011/11/noticias-de-girl-with-dragon-tattoo.html
Murderous Ink, in Tokyo examines 1920’s cinema ia a brilliant new post titled “Going Berserk” at Vermillion and One Nights: http://vermillionandonenights.blogspot.com/2011/11/going-berserk.html
At Patricia’s Wisdom, our friend and proctor of the same name has penned her first film review, and it’s a terric one on the HBO gem “Temple Grandin”: http://patriciaswisdom.com/2011/11/temple-grandin-a-movie-review/
At Scribbles and Ramblings Sachin Gandhi has penned a thought-provoking comparative essays on three recent works of Greek cinema, including the highly-regarded “Dogtooth”: http://likhna.blogspot.com/2011/11/greece-by-way-of-lanthimos-tsangari.html
At the always-spectacular Creativepotager’s blog, artist Terrill Welch asks “I Wonder What She Wants?” and then offers up some stunning photos: http://creativepotager.wordpress.com/2011/11/18/i-wonder-what-she-wants/
Writer extraordinaire Samuel Wilson, has penned a fascinating comparison between his featured film “A Very Private Affair” by Louie Malle, with the Jean Harlow starrer “Bombshell” at Mondo 70: http://mondo70.blogspot.com/2011/11/very-private-affair-vie-privee-1962.html
Srikanth (Just Another Film Buff) offers up a brilliantly creative post at The Seventh Art titled “The Scarves of Grey Gardens”: http://theseventhart.info/2011/11/26/the-scarves-of-grey-gardens/
At The Long Voyage Home, Peter Lenihan features 103 year-old director Manuoel de Oliveira’s “The Strange Case of Angelica”: http://thelongvoyagehome.blogspot.com/2011/11/moving-beyond-materialism-manoel-de.html
The gifted and always brilliant Jason Bellamy takes a fascinating and perceptive look at “J Edgar” that in some measure differs from the majority stand. It’s at The Cooler: http://coolercinema.blogspot.com/2011/11/solid-weight-j-edgar.html
Jeffrey Goodman, filmmaker, blogger, statesman and discerning cineaste, maintains The Last Lullaby, an altar for the scrutizing movie goer and those following latest developments on his latest project: http://cahierspositif.blogspot.com/
Again Stephen Russell-Gebbett expands the boundaries of blog posts by offering up some cogent ideas as what makes a film work in a tremendous piece titled “Film and Musicality: The Importance of Tempo, Rhythm, Length and Timing” at Checking On My Sausages: http://checkingonmysausages.blogspot.com/2011/11/film-and-musicality-importance-of-tempo.html
At The Schleicher Spin David asks writers to name the ten people from the past they’d most want to have a conversation with: http://theschleicherspin.com/2011/11/23/elizabeth-r-you-free-for-dinner/
At Cinemascope Shubajit Laheri has penned a terrific capsule of the Marx Brothers’ “Duck Soup”: http://cliched-monologues.blogspot.com/2011/11/duck-soup-1933.html
Craig Kennedy’s always-popular “Watercooler” post is up and running at Living in Cinema: http://livingincinema.com/2011/11/27/movin-right-along/
At This Island Rod, Roderick Heath stays the course with another stupendous review, this one on 1971’s “When Eight Bells Toll: http://thisislandrod.blogspot.com/2011/11/when-eight-bells-toll-1971.html
Michael Harford, the erstwhile ‘Coffee Messiah’ offers up an engaging video about the beverage’s worldwide popularity: http://coffeemessiah.blogspot.com/2011/11/coffee-break.html
Troy Olson announces plans to commence with his Robert Bresson project at Elusive as Robert Denby: http://troyolson.blogspot.com/2011/11/argh.html
Jason Marshall explains why he feels that “Anonymous” is the worst film he has seen in 2011 thus far at Movies Over Matter: http://moviesovermatter.com/2011/11/10/why-anonymous-is-the-worst-movie-ive-seen-in-2011-so-far/
At Petrified Fountain of Thought Stephen Morton offers up three terrific capsules on “50/50”, “Moneyball” and “Ides of March”: http://petrifiedfountainofthought.blogspot.com/2011/11/recent-movies-5050-moneyball-ides-of.html
Fritz Lang, Joseph Losey and Jean-Luc Godard all figure in Drew McIntosh’s latest post “I’ll Be Damned” at The Blue Vial: http://thebluevial.blogspot.com/2011/11/ill-be-damned.html
Kevin Olson offers up a postscript to his recent Horror Blogothon at Hugo Stigliz Makes Movies: http://kolson-kevinsblog.blogspot.com/2011/11/italian-horror-blogathon-postscript.html
Tony Dayoub at Cinema Viewfinder offers up an interview with the Self-Styled Siren: http://www.cinemaviewfinder.com/2011/11/gone-to-earth-conversation-with-self.html
Hokahey has penned an impressive review of “The Immortals” at Little Worlds: http://hokahey-littleworlds.blogspot.com/2011/11/immortal-imagery-immortals.html
Dave Van Poppel is gearing for some updates at Visions of Non Fiction, but presently is still leading up with his very fine review of “Project Nim”: http://visionsofnonfiction.blogspot.com/2011/08/project-nim.html
At The Reluctant Bloger Jeff Stroud has offered up some stunning beautiful images in a post titled “Autumn Leaves”: http://jeffstroud.wordpress.com/
Click on names for archives
Writers/Founders
Wow, a terrific week, Sam. Some top names there that you’ve covered.
I liked THE DANGEROUS METHOD a lot, even though I thought it stopped short of going all the way, I also saw the CARNAGE and THE MILL & THE CROSS, both of which I did not like much. Can’t wait to see HUGO, THE ARTIST and most of all THE HOUSE OF PLEASURES.
Thanks for the roundup, as ever, Sam.
Cheers!
Srikanth—
This was indeed a memorable week, though the various studios made sure it would be well in advance. I look forward to CARNAGE (and to SHAME) but am admittedly disappointed to read of your reaction to THE MILL AND THE CROSS which is surely one of my five best movies of the year. But I’m sure at some point we will discuss it. THE HOUSE OF PLEASURES is eye-opening, that’s for sure, and I’m sure you’ll be coming back with a positive reaction. HUGO is magnificent, and THE ARTIST just a bit less so.
Thanks as ever my very good friend!
I’ve already said how I consider “A Dangerous Method” a return to form for Cronenberg, and I’d say it shares more in common with key films from both his early career (“Stereo” and “Crimes of the Future”, in part, have a lot of the same restrained scientific/psychological experimental angle that ADM has in parts) and literary midpoint (“Dead Ringers” especially comes to mind, both for the psychological themes and for the constant use of digitally composited deep-focus shots, a variation of the “twin effect” he achieved with Jeremy Irons) than his last two films do with his output overall. As I’ve said before, it renews my excitement over “Cosmopolis”.
As for “Hugo”– I was not really all that impressed. In fact, I can safely say that I was let down in this case. The story was rather stale and by the numbers, especially if you already know where the Melies narrative is headed. The kid actors are okay, but they really only perform at one note (the boy at sweaty-faced panic and desperation, the girl at precocious excitement), and are pushed far too often into the cute territory. What’s-his-name, the Borat/Bruno actor as a conniving station detective, was just annoying, as he always is for me, and all the comedy-pratfalls he’s pushed into felt a little desperate. Scorsese’s use of 3D is okay, but I’m at a loss for people who call it revolutionary, or anything– he just seems to know what the foreground is.
And while all the heartfelt devotion to silent cinema is to be appreciated, I can’t help but feel that self-conscious acts of “children’s filmmaking” like this from artists who are so far beyond the zeitgeist for youth pop-culture has something of a rather sad, obligatory nature to it. All those enthusiastic reccomendations to go read Jules Verne or Robert Louis Stevenson just strike me as somewhat condescending, the privileging of one generation’s entertainment over another’s. Here, it’s reaching even farther back than that, and it’s hard for me to take much or any of it seriously, especially as it amounts to a severe watering down of the director’s usual habits (it’s not the watering down of content that I deplore, but it only really starts to feel like a Scorsese film in the way that it’s shot and cut about half or even two-thirds of the way in, all those sweeping camera movements early on getting in the way, even if it’s trying to build the train station setting in some baroque little vision of nostalgic Paris sentiment). All in all, it’s a cute little piece of movie-love, but about as appreciable as a heartfelt gift of socks from a well-meaning relative over the holidays. Outdated on arrival.
Oh, and is it just me, or isn’t it a weird bit of oversight to make a movie so head-over-heels in love with the silent era with a clockwork automaton as a central plot device, but not include “Metropolis” amongst the many films referenced in that mid-point montage? Poor Fritz Lang.
Another odd point– of the seven or eight trailers that preceded the film, all of them were advertised as being in 3D, but only “Titanic” and “Beauty and the Beast” were actually shown that way. At any rate, it’s rather sad that between those and “The Phantom Menace”, the only movies that anybody in my audience seemed interested in seeing 3D versions of are rereleases of old films (and in the case of “Titanic” and the snickers of laughter I heard, I don’t even think anyone’s clammoring for that– that Celine Dion song actually prompted a guffaw or two).
Yeah, I’m hard pressed to think of a more popular movie that faded more quickly than Titanic. It may also have been the jumping-the-shark moment as far as “biggest hit of all time” actually representing a movie with legs – say what you will about Gone with the Wind, Sound of Music, or Exorcist, they all still have devoted admirers 40, 50, 70 years later.
Then again, to prove my point I was going to show the top 15 box-office hits of all time as of 2011, and as of 1991. But the truth is it was not a much more impressive lot back then. Although compared to Pirates of the Carribean: Dead Man’s Chest and Transformers: Revenge of the Fallen, Home Alone & Ghost might as well have been Citizen Kane & Rules of the Game…
I could of told you at the time Titanic would sink faster than the actual boat it was named after. It was one of those movies you knew would eventually lead to large scale derision. The movie frankly sucks, and as Bob mentions elsewhere, the love story (with its formulaic class structured forbidden romance) was appallingly hideous and forced. Personally I started cheering when everyone began perishing, just due to the cinematic abuse I was subjected to by Cameron (and my then girlfriend). The movie single handedly turned me into a temporary misanthrope and I welcomed the misery and mass drownings that occurred at the conclusion. Never mind that Winslet had enough room on that piece of sturdy driftwood for two… but really why save the poverty stricken poor guy. In the end, he was just a quick fling that makes a great story to her high society friends about those days, long ago, when she mischievously slummed it.
Yes, and to think that Les Desmoiselles went down with the ship too. Who knew? Far more of a loss than Leo, and it’s not even close to my favorite Picasso…
I’ve long been a major TITANIC detractor, venomously so. But I won’t say that anywhere near my 15 year-old daughter Melanie, who has a crush on Di Caprio and adores the film and that song. Ha!
I always thought TITANIC was like an average Bollywood love story but with some better technical aspects and some nudity. I found it painful to sit through that film.
You and me both Sachin.
Bob—
HUGO is NOT a mystery. Whether you know where the Melies narrative is headed or not, is of little consequence in the enjoyment of this film. “Outdated on arrival.” Tell that to the American Library association (who voted the book the Caldecott Medal) and close to 100% of the critics, who love the film. But yes you are allowed your opinion, just as those who say Leonard da Vinci, William Shakespeare and Ludwig Van Beethoven are no talent hacks. Ha!!!!!!! Seriously, I think you are way too difficult to please, and take the term “critiscism” to the highest level of scrutiny I have ever experienced in the blogger’s and professional ranks. I felt the magic in Scorsese’s film, which I guess is what sets me apart from you in regards to it. A personal reaction to any film, to any work of art in fact, was never meant to be a statement on whether the film worked or not, or had any real issues. It tells way more about the individual viewers’ thought and perception patterns well more than it does about the film’s artistry of lack thereof. Still you said some very good things about A DANGEROUS METHOD and about Cronenberg in general. I also believe he branched out with the historical and literary elements that I thought were much at play in this exceedingly lush and attractive film.
As always your great comments are food for thought, even in the case of serious disagreement. Thank You.
Seriously (BOB), I think you are way too difficult to please, and take the term “critiscism” to the highest level of scrutiny I have ever experienced in the blogger’s and professional ranks…
Bingo!!!!
Ha, well at least he goes to the new movies. I don’t even bother anymore, too many disappointments…
(What’s more, the habit’s also become way too expensive…cinephiles are joining foodies and potheads in the costliness of their passion…)
Mauriz, if I’m so difficult to please, wouldn’t that only speak higher of the films that did meet my approval? Obviously, it’s all in the eye of the beholder, and in this case I’d rather watch that selfsame episode from Rod Serling’s show with the lights turned on than see “Hugo” again.
Read my second comment further below Bob, to illustrate why I find your retort here problematic lol.
I thought I was commenting under your other one, Mauriz, but obviously doing that sort of thing on a smart phone isn’t quite so… well, you get the idea.
Anyway. Don’t we overlap on admiring one or two movies nearly everyone else here thinks of as crap? This is the sort of thing I’m talking about.
Word is that the New York Film Critics Circle will be naming HUGO the best film of 2011 at around noontime today.
Speculation is that it will be Scorsese’s film or Malick’s TREE OF LIFE. Either would be a superlative choice.
I never thought I’d be putting Malick ahead of Marty, but given those two choices…
Well, Sir, you won’t have to. The results just now confirm a major surprise as Michel Hazanavicius, the French director has won for THE ARTIST.
Now the 1959 Ben Hur is way better than Shitanic. I’ll give you that.
Well thanks at least for THAT!
I hope Dennis comes through with his Kubrick retrospective as I will be involved in the discussions to the ultimate degree. Peter Lenihan is a great writer who has a wonderful blog (The Long Voyage Home), but I think its time the Ford revisions start heading the opposite way of positive lol. There is enough corn in his oeuvre to feed the whole indian nation he massacred continuously throughout his cinematic career. Either way I’m sure it will be a worthy project that I plan to follow closely. Anyway the future of WITD has a very bright horizon and I can’t wait for the comedy countdown to begin. What I saw this week….
The Descendants ****
A Dangerous Method *****
Jane Eyre (2011) ***
The Man Who Changed His Mind (36) **
Bob’s opinion of Hugo is sort of what I fear from the Scorsese picture myself Sam. Your immensely positive rating will undoubtedly force me to go see it, but I do wonder if the stale charge levied by Mr Clark will also be my impression in the end. Obviously there is only one way to find out for sure.
Maurizio–
I’d say I’m a more fervent Ford fan than you are, even if what you say isn’t completely off the mark. He was extraordinarily prolific, so with teh masterpieces there were also some duds. I’m in presently in e mail discussions with Peter Lenihan indeed, and it appears that the Ford retrospective will either take place every second week on the Wednesday that Jim Clark is idol, or on Sundays after the end-of-the-year completion of the FIXING A HOLE series. As far as Dennis and Kubrick, we are definitely making headway there.
As to HUGO, you didn’t factor in that Bob is extremely, extremely, extremely difficult to please, as brilliant as he is both as a thinker and writer. And I truly do like Bob, and am his friend, but he knows I am often exasperated by his rigidity. I think if opinions are to be brought in here to foreshadow your own reaction, let’s take more confidence in the 97% or so that are praising the film. But aside from all that, to be honest, if I read you correctly, you will come away from it with only modest regard. I don’t really think it is your cup of tea.
Wow, I knew you liked Cronenberg’s movie a lot, but five stars? Nice. I’m just a half star less, but it appears to be a Top Ten film for me, or Top 11 to correctly size up my method.
The *** rating for JANE EYRE is disappointing, but I know that isn’t your kind of thing. I haven’t seen that 1936 film yet.
Thanks so much for the enthusiasm and terrific comment my friend!
The problem is not that Bob is difficult to please Sam… the real problem is what actually ends up pleasing him lol. Don’t worry I’ll give Hugo a fair shake when it appears at my local theater.
John Ford did so half a dozen extraordinary films, but he also made Mary of Scotland and The Wings of Eagles. And then there’s those two travesties I needn’t name that certain fools think masterpieces of cinema rather than insults to two of the celtic nations.
Well, even Hitchcock made a few duds.
What about a Woody Allen (happy birthday) retrospective? I’d love to do it. I’d just have to see his scripted movies (not directed by him) that are the only ones I’m missing for now.
Dear Sam I am going to get to comment on this weeks Diary even if I must do it on Sunday evening! I can see that you had an eventful viewing week and it is always a pleasure to read your reports. THE ARTISTS of course intrigues me🙂
In my long hiatus from commenting I do not have a lot to share but three, yes three, Herzog films.
THE WRATH OF GOD (1972) which I thought I was prepared for after watching MY BEST FRIEND (1999) however, I was not. I made it through but found it a disturbed rather than disturbing work. The tension in the film was relentless.
WHERE THE GREEN ANTS DREAM (1984) I felt the film was successful at holding multiple viewpoints at least for long enough to empathize and sometimes to laugh and cry. It is good to get outside ourselves sometimes and try on different ways of seeing the world. You never know, you might even decide to stay there.
CAVE OF FORGOTTEN DRAMS (2010) Can you image what it must have been like 36,000 years ago in the Chauvet caves of Southern France? I was fascinated with the drawing and that humans have been creating images for so long. I found the repetition of the same few images sometimes a little too much so I am not sure how non-art enthusiast find the film. Still, it is one I will watch again purely for the mystery of cave lions, a child’s footprint beside with a wolf track beside it.
Well that is all from me this time around. Thank you as always for the shout out Sam! May you have the wonderful week all!
Terrill—
I well understand that you are very busy on the atistic front on your island paradise, and well appreciate your always thoughful and substantial comments here, which all things considered are submitted more often than you really have aright to.
I love your descriptive observations of Herzog’s CAVE OF FORGOTTEN DREAMS, which is one of the year’s best documentaries, and a film I reported back here months ago most glowingly. Yes, it was an intrigue from the get-go, and for once the interviews were erudite and enlightening. But the cave sequences were truly fascinating. As an artist yourself I know this would have special value too. I haven’t seen WHERE THE GREEN ANTS DREAM but will admit I liked THE WRATH OF GOD far more than you did, but could well understand why some would find it alienating, and that’s an understatement. Ha! I applaud you on the Herzog retro. he presently has another one out in the theatres call INTO THE ABYSS, on capital punishment, which I hope to see soon.
Have a great week my excellent friend, and many thanks!
My two oldest went to see The Muppet Movie this weekend and gave it a 5 star adorable rating – and a sigh from childhood memories, but thought there were just too many product placements. We tried to see HUGO while in San Fransisco but it was sold out each and every day we could attend. Now at home and digging out after a huge wind and rain storm brought all the leaves down and stopped up drains and sump pumps. Never a dull moment it seems.
I am determined to see The Decendents while it is here and I think the Dangerous Method may be a no show here? But my friend, is thinking about driving to Tacoma later this week, as she really wants to see it.
Thank you for the shout out about my film review – I am going to mix a film and book reviews this week as I look at Belief.
Tonight the streaming movies are not on so I knit to Little Women ( Wynona Rider version) and enjoyed that very much. Watched the BBC series North and South on DVD while away with one of my daughters and that was fun to have someone to talk to about it.
Tomorrow I figure out who get’s Terrill, the Creative Potager’s lovely book for a comment on my blog and my gratitude towards all my readers and commentors. We have our finger’s crossed that the new project will go to our architectural office ( shh..it’s a theatre) and not the competition. Would be wonderful to have some work for the new year lined up…
You always present such good ideas – I just wish I could head to the theater more often. YES!
Oh my family did the Turkey Trot in San Francisco with 21,000 others – 10K and my husband came in about 900th and 17th for his age group! The girls did well too – but were upset that they had to walk about 10 minutes to the finish because of the back up to exit. That and hiking were great parts of the adventure.
Oh yes! I am wondering how one criticizes an art show? We went to MOMA and the current event is depressing and it just overwhelmed me that people spent so much money on these huge giant painted black squares on fabric….it truly seemed such a waste of $ when there is so much beauty and need? I don’t know how to write about it?
Patricia—
As always you come to the table here with such enthusiam and so many fascinating information and life experiences! Yes THE MUPPETS (which I saw late last night with Lucille and the two youngest boys Danny and Jeremy) in order to get a brief report on the diary, was heavy on product placement for sure, but was an utter delight and a real trip down Memory Lane that for all intents and purposes eclipsed the original Muppets film (which I also liked). Glad to hear your two oldest loved it! Sorry to hear about the difficulty in finding an open screening for HUGO. I look forward to your eventual report on it, as I have reason to believe it will resonate with you. Hopefully you will find an opening for A DANGEROUS METHOD, a film that you will surely find fascinating, and quite beautiful to look at as well. And then there’s THE DESCENDANTS, which for what it’s worth is now the clear front runner at the Oscars. This is a great time for movies, as it normally is at this time of the year. I do like LITTLE WOMEN, and think NORTH AND SOUTH has some worth too!
Hope that Terrill’s book goes to someone who will really appreciate it’s beauty. And hope the new project goes off quite well, as well as you are hoping for.
Thanks for the wonderful report on the art show and look forward to the upcoming film at book reviews at PATRICIA’S WISDOM! Your debut was a big hit!
Many thanks my great friend and have a special week! I am sorry to hear about the rain storm, and the sump pump failures. God, I know that scenario quite well!
I saw Hugo this evening and loved it. I found it to be well written, well acted and, well . . . well everything. I was sufficiently entertained and intrigued by the first sequences leading up to the introduction of old film as the specific focus. I quite enjoyed all the gizmos and their clicking and clacking and was charmed by minor characters and bits. The young boy, Asa Buttersomething, was sufficiently scrawny (those spindly legs) to be believable as an urchin who steals to keep himself fed. The young girl had that sort of superior charm typical of that age. I particularly enjoyed Sacha Baron Cohen’s work — his characterization really helped make the movie. Kingsley was particularly good at portraying the different ages of his character — I was especially impressed by his brief scenes as a young man with the boundlessness of creative energy. Certainly there’s awards recognition coming his way, I’d think. Emily Mortimer and Michael Stulbarg were good in their small but important roles. Speaking of awards, I’d say this qualifies as a best pic nominee — and director, camera work, score, makeup (Sandy Powell again), editing, art direction, etc., and maybe even adapted screenplay.
Besides the film’s obvious messages about early cinema and literature, I was impressed by the life-affirming theme arising from comparisons of machines to the world: Machines come with just enough parts to make them work but no extra parts; so if the world is like a machine, then everyone in it has a purpose.
I’m looking forward to The Artist and, especially, A Dangerous Method and Shame.
Pierre, I loved that machines come with just enough parts dialogue. Glad you mentioned it. I can’t recall if those words were in the book but I found it quite appropriate and effective to see them in the film. I liked how in the opening sequence, it appeared that all of Paris was one machine with lanes of traffic looking like moving gears. So it made sense to see the boy speak those words while looking out the window at the same sight shown in the film’s opening.
So it made sense to see the boy speak those words while looking out the window at the same sight shown in the film’s opening.
Yes — the boy was in a position to observe . . . and fix. Like he did with Melies, like the old man did when he added another dog to the mix, like the Emily Mortimer character did with the station agent, and so on.
So happy you pointed out the vital contributions of Stuhlbarg and Mortimer, Pierre, but your entire reaction in very large measure mirrors my own, and I salute you for your typical descriptive and observational skills in recapturing the experience in words. True what you say about yound Asa Butterfield’s spindly legs and Kingley’s amazing aging make-up. Cohen was marvelous too, especially as he had us hating him so resolutely, much as we deplored Bumble in OLIVER TWIST. Your elaboration on the life-affirming theme as applicable to machines is brilliance incarnate.
I am also waiting (impatiently) for SHAME, and I look forward to your response to A DANGEROUS METHOD. Thanks as always my friend!
You had a great week of films there, Sam. I’m keen to see ‘Hugo’ once it opens here in a few days, as is my husband, but our son doesn’t fancy it for some reason – however, hopefully we will persuade him, as it sounds like a good film to see with the family! I’m also pleased to hear you thought ‘My Week with Marilyn’ was pretty good, even if you had expected even more – I might see that one later this week.
Thanks a lot for the plug. I’ve only seen a couple of movies over the past week. Continued catching up on John Ford with ‘Young Mr Lincoln’ and I also watched Capra’s ‘Mr Deeds Goes to Town’, which I had seen before but many years ago. Both great films, of course, and I’ll look forward to reading Peter’s pieces on Ford in the New Year.
However, I’ve spent most of my free time over the last week reading to the end of James Kaplan’s book about Frank Sinatra’s career up to 1954 and listening to a lot of his earlier recordings – I still think the book is fascinating, but could have been a lot better if Kaplan had resisted the temptation to keep veering into fiction, with whole conversations that he has apparently made up! I didn’t previously know much about Sinatra, so hadn’t realised that he hit rock bottom in the late 1940s and early 1950s.
Judy–
I suspect you will love HUGO, if I had to make a prediction. And word is that it may win the NYFCC award for Best Picture tomorrow, though I am still thinking it will be a close call with A TREE OF LIFE. I hope you can persuade your son to see it! Ha!
Great that you are finding the Sinatra book so rewarding, even with the fictional diversions. Both YOUNG MR. LINCOLN and MR. DEEDS are major classics, so I know you had a lot of fun there! And MY WEEK WITH MARILYN is an entertaining film with a captivating lead performance and some fine supporting turns on display. Again, I’m thinking you will like it!
I am now leaving the house with Lucille and my son Sammy to see Clarence Brown’s FLESH AND THE DEVIL at the Film Forum with piano accompaniment as part of their Monday silent series.
I won’t be able to get to any of the other responses tonight after Judy’s here, but will do so tomorrow.
Anyway Judy thanks so much as always, and have a great week!
Wow, ‘Flesh and the Devil’ on the big screen with piano – Garbo is so great in that, as is John Gilbert. That scene with them smoking together is just unforgettable. Sounds like a great evening!
Indeed that scene was unforgettable Judy! And the film was mesmerizing to watch, with a particularly beautiful piano score from Steve Sterner to boot. Even my 14 year-old son Sammy loved it and was talking about it in the car on the way home! Thanks again!
Just to correct, the 1959 version doesn’t in any way match the silent. Just so we’re clear.
No we are not clear. The 1959 version is easily superior.
Were you born blind, or did you volunteer the blindfold in later life? The remake could have been great, if only it hadn’t been so goddamned worthy and had Wyler not indulged Chuck Heston compared to Mann’s masterful direction of him for El Cid. Boyd was actually quite good as Messala, especially in his opening scene with André Morell which was the highlight of the entire film. Then again, André Morell is one of the forgotten great character actors of large and small screen.
As always you speak as if YOUR opinion were FACT. Ain’t that way buddy, and apparently millions around the world don’t have the issues you do with it. But after seeing your position on WEST SIDE STORY, tell me I’m not surprised. There are MANY highlights in this film, not just the modest one you oddly place on top.
The 1959 BEN-HUR blows the silent film out of the water, and I am a huge fan of the silent era.
The 1959 BEN-HUR is a spectacular popular success with the critics and the audiences. Everyone knows of the wheelbarrel of Oscars, but I wonder how many know it won Best Picture in 1959 from the New York Film Critics Circle.
Mass popularity has always earned major contempt from you I know. You need to stand alone as the one in the know.
Alone? Hvae you actually read critical analysis on the film? Jesus? The Sam Juliano critical concensus = everyone who agrees with me – damn the rest to hell!
Actually that’s been YOUR coda for the longest time. You need to look in the mirror. I always state my opinions, while still respecting the other view.
With you THERE IS NO OTHER VIEW!
More importantly, the package was shipped an hour ago.
You guys tempt me to say “None of the Above.” Both chariot races are great, but Boyd is a better villain and Hawkins elevates the remake, though Allan’s comparison of Heston in Ben-Hur and El Cid is telling. I lean toward preferring the silent because its archaicisms are better suited to the source material, which is pious corn. But the worst version is easily the half-hour cartoon digest that ends with Messala surviving the chariot race intact, having only fallen into a puddle of mud, then asking and receiving forgiveness from Jesus before reconciling with Judah. It must be seen to be believed, but you’ll probably still resist.
Well Samuel, I can’t say much to take you to task as you are ever-perceptive in discussing the epic film and you pose terrific insights.
I’ll say this– Wyler’s “Ben Hur” improves dramatically if seen on the big screen. I can’t vouch for the silent in that regard, but the vast majority of people nowadays, critics and casual viewers alike, only take into account how the Heston film looks and feels shown letterboxed on television. Even on the widest of high-def screens, it’s nothing in comparison to the theatrical exhibition.
All excellent points here Bob. And I envy you for seeing it last month at the New York Film Festival! I’m sure you will treasure that forever.
I would keep an eye out for future exhibitions of the digital theater print. I would be very surprised if that was a one-time only affair. If not at Lincoln Center again, then elsewhere. It just looks too good on the silver screen for someone to not ask for it, at some point.
Yes I agree Bob, and I will be keeping my eyes open for a hoped-for re-appearance!
You had quite a spectacular week at the theaters, Sam. Saw coming attractions for THE ARTIST today and it looks enticing. Hope to see HUGO later this week. I did get to see THE DESCENDANTS (****) which was well done and extremely moving emotionally. Clooney gives a very good performance and expresses a vulnerability that I do not think he has ever shown before. Shailene Woodley who plays the older daughter also is an acting highlight.
At home I watched the following…
West Side Story (*****) Watched the new blu-ray and it is exquisite! This is the film that made me fall in love with the movies. The choreography, the music, the lyrics are all just beautifully executed. The editing is sharp and the ending continues to move me to a level of poignancy that is beyond description.
Murder on the Orient Express (****) Sidney Lumet’s elegant and stylish version of Agatha Christie’s great who done it. The cinematography here is reason alone to watch, great snow scenes, inviting interiors and wonderful costumes worn by the cast. Finny is wonderful was as eccentric but brilliant Poirot
Also watched part one of the Woody Allen documentary on the PBS series American Masters. Some wonderful early clips from his standup days in the 1960’s along with insightful interviews with Woody and others he has worked with.
Forgot to add “Miracle on 34th Street” which was seen on the evening of Thanksgiving. One of those holiday films I need to watch every year sometime during the season.
John—
Yep, this was a great week in movie theatres, much as it was predicted to be so all year long. You are right to point out Woodley’s work in THE DESCENDANTS, which they are saying will earn her an Oscar nomination. Clooney really did come into his own here, and I agree it was a moving film.
Lumet’s MURDER ON THE ORIENT EXPRESS is wonderful for all the reasons you note. A number of the supporting performances are quite good as well.
I also have that WEST SIDE STORY blu-ray and agree it is spectacular. It will get more use than most of the discs!
Thanks again my very good friend, and have a terrific week!
As far as MIRACLE ON 34TH STREET I can’t agree with you more!
Sam, thanks so much for the wonderful mention.
It sounds like you had a great holiday. I did, as well, driving with my wife, Julie, to spend it with my parents and my sister’s family in Atlanta. Was great to just hang out and catch up with everyone.
I was happy to hear the strong words for the new Scorsese and Cronenberg. I am really looking forward to seeing them both and will do something about that very, very soon.
My own movie-watching was a little slow. I only saw LIKE CRAZY and Tsai Ming-liang’s I DON’T WANT TO SLEEP ALONE. I was happy to see them both but preferred the Taiwanese film of the two. Tsai has such a special thing that he does, and I can only imagine Antonioni proud that someone’s out there still doing such extraordinary work with some of his key themes.
Here’s to another awesome week, Sam! Thanks so much for all that you do.
Jeffrey—
Sounds like you had a great time yourself, and that trip to Atlanta speaks for itself! You got some quality time in with the relatives.
Yes, both Scorsese and Cronenberg crafted winners, and I’m fairly certain you’ll connect with both, if not at least one. Interestingly enough, both directors left their usual type of film here. I like that Tsai-Ming Liang film as well, and appreciate the Antonioni parallel. LIKE CRAZY is still in the running for my 2011 ten-best list. I liked it that much.
Have a great week my friend, and as always I deeply appreciate your deeply-valued weekly appearance here.
Rip Ken Russell 1927 – 2011
I didn’t know this Jaime.
This is an incalcuable loss.
I’m far from being an expert, so can we work on something to be posted tomorrow, with all the writers and guests and so?
Maybe a film chronology with excerpts from our own reviews of his work.
Read your emails…
Message to Allan:
I read my e mails AFTER I visited the site this morning, so I saw this announcement BEFORE I got to the e mails. Is that arrangement OK with you? I was doing all I could to get ready for the school day.
Jaime: That is a terrific idea. Do you have a suggestion as to how we should proceed? I’m game for anything.
The silent film is well behind the 1959 in greatness.
Great sequences? How about the sea battle and the chariot race just for starters.
Frank, find a darkened corner and repeat the following lines 100 times “I must open my eyes at the cinema”
I call dibs on writing up “Altered States”.
Awwwww, poor Ken Russel!!!!!!
Hugely interested in taking a look at this new one by Scorsese if for nothing else as to see where he takes fantasy and childrens movie making.
Have been wrestling the Kubrick series in my head for a week now and putting some final touches on a essay (not on Kubrick) that needed a reworking. Was given the gift of a book the other day and have to admit to reading through all 500 pages of Roger Eberts THE GREAT MOVIES in one night flat out. While not the greatest critic of all time, I must say that his essays in the book were a joy to read through and shed a little new-found perspective on a few old films that I’d never taken into consideration…
Oddly enough, while I own The Great Movies and enjoyed reading them online before they were in book form, ultimately something about them feels a bit forced to me. They don’t reach out and grab me like his weekly reviewing did.
Dennis—-
I respect Ebert as a human being and as a humanist more than I do as a scrutinyzing critic, though I agree with him a good part of the time. He seems to be too soft, at least in the last decade or so. But he is a film statesman of the highest order, of this there can be no doubt, and heck, he did win a Pultitzer Prize. He is fun to read, yes.
I’ve been thinking a lot about the Kubrick series the last few days.
Thanks as always my very good friend!
Good morning, Sam and thanks for the link!
Looks like another great week of moviegoing for you. MY WEEK WITH MARILYN is playing the arthouses here in Chicago right now; I’m in no rush to see it, but will at some point. I’m eagerly awaiting the arrival of A DANGEROUS METHOD, and am planning to see HUGO very soon, probably by the end of this week.
My only theatrical outing this week was to see THE MUPPETS, a charming nostalgic film that had us smiling through its entire running time. In addition to watching the final installment in the PBS Woody Allen documentary, I re-watched CRIMES AND MISDEMEANORS and YOU WILL MEET A TALL DARK STRANGER in preparation for a post I hope to get up later this week. Also caught MADE IN DAGENHAM, a very likable and inspiriing film about which I also hope to post this week.
Almost forgot to meniton – I also finished reading Diane Keaton’s memoir THEN AGAIN, which I recommend highly. Her la-de-da flakiness is very much apparent in this book, but it’s counterbalanced with some amazingly keen and compassionate insights about her life, her family and herself.
The plaudits for HUGO are really resonating the last few days Pat, and word is that the New York Film Critics Circle may well be annointing it Best Picture tomorrow. I’m still thinking TREE OF LIFE, but HUGO would be a very fine choice, as it’s easily one of the best pictures of the year. And I do think you will really like A DANGEROUS METHOD Pat, as I think I know your taste to some extent. Ha! I completely agree with you on THE MUPPETS, which was charming and nostalgic for sure. It was a spirited toast to yesteryear with some added song and dance pizzazz that enriched the lovefest.
I liked MADE IN DAGENHAM too, and look forward to your post on it! That one seemed to get lost in the shuffle for some reason. I am more than intrigued with seeing that Woodman documentary!
Have a great week Pat, and thanks so much as always!!!
The Keaton volume too sounds like a winner!
I saw Hugo and The Descendants over the weekend. I liked both, especially Scorsese’s film. I had no difficulty with the pacing at all, and experienced no weak spots. Kingley’s aging makeup was amazing, and young Asa Butterfield is terrific. The set design is extraordinary.
I’d rate The Descendants second behind Sideways as far as Payne is concerned. Clooney’s best work yet. Entertaining from first frame to the last.
Frank—
Great to see you out and about!! LOL!!!
Word is that HUGO may win the New York Critics Circle Award for Best Picture tomorrow! I would have thought they’d go with TREE OF LIFE, but apparently there is a groundswell for HUGO and Scosese.
Fair enough too what you say about THE DESCENDANTS.
Thanks as always my great friend!
Very excited to see The Artist, Hugo and A Dangerous Method! Was disappointed this week when The Interrupters didn’t make the shortlist for the Academy Awards this year, but I saw The Descendents and The Mill and the Cross this weekend. I’ll keep you posted on a review of the latter that should be up on my site shortly! Thanks Sam!!
Dave—
THE MILL AND THE CROSS will unquestionably make my Top Five for 2011. I can’t wait to read your response on it. Too bad THE INTERRUPTERS didn’t make it, though I’ll admit I know close to nothing about the film. Something tells me that you will be linking the majority of that trio! Thanks as always my friend! Have a great week!
Hi Sam!! Glad to hear your love of The Mill and the Cross. I enjoyed it as well! I did a capsule review of The Interrupters in the spring for the Hot Docs Festival. It will definitely be in my top 5. The Mill and the Cross will be up there as well!
Thanks for the mention Sam. I look forward to seeing DANGEROUS METHOD and THE ARTIST but it seems neither will open here until Jan. I was hoping we would get the Cronenberg earlier but currently the official release date seems to indicate nothing prior to Jan 27.
In the meantime, I did catch HUGO and loved the opening sequence as you mentioned. I thought the film showed that 3D can be an immersive enjoyable experience in the hands of an auteur. I had read the book earlier in the year so I knew the story but still liked watching the film. Although I was not a fan of the few comedic deviations from the book involving the station inspector but those moments were probably needed to lighten the mood. Overall, I found the film charming but I was not as enchanted with it as some of the reviews out there.
Sachin—
I am rather surprised that THE ARTIST and especially A DANGEROUS METHOD will take that long to open in your environs. January 27 for the latest film by a Canadian director of that esteem? This is ridicuous. As far as HUGO, I appreciate reading your predominantly glowing assessment, and see where you are coming from as far as the train conductor (Cohen) is concerned, but agree that Scorsese needed to incorporate some humor to make the most serious elements work as emotionally as they did. But I understand you like it, but don’t adore it like some, which is fair enough. I hope that SHAME and KEVIN will be coming near you soon as well.
Please keep me abreast my friend! Many thanks. I fell behind with e mails and will be responding to you tonight. My apologies.
Sam, I was thinking of seeing Hugo this weekend but I’m just getting over a small back injury and didn’t care to be stuck sitting for two hours — I’m actually more comfortable walking. So that left me with my DVR and my DVDs. Along with Kurahara’s Warped Ones, which is current on the blog, I took in The Strange Case of Angelica, which is the sort of film you might expect from a sentient centenarian and charmingly morbid at that; Cattet & Forzani’s Amer, a minor masterpiece of montage that risks relevance in its determination to make every frame a work of art; Lothar Mendes’s Payment Deferred, an early Charles Laughton showcase that makes a virtue of inconsistent characterization; Phillip D’Antoni’s The Seven-Ups, a solid Seventies cop film distinguished by a classic car chase and a righteous Roy Scheider star turn; Sternberg’s Shanghai Express, glamorous pulp from Paramount’s annus mirabilis of 1932 — it may be the best year a single studio ever had in purely artistic or entertainment terms — and in a better world the tentpole for a series of Dietrich & Wong against the world films; and Carlo Lizzani’s Requiescant, an atypical spaghetti western to the extent that Mark Damon’s scenery-chewing villain dominates the film by over-the-top emoting rather than gunplay.
I also saw To Have and Have Not for the first time since I’d read Hemingway’s novel, and now I can’t judge the movie objectively anymore. The book is gravely underrated in general and ill-represented on film by Hawks, Faulkner et al. Bogart could probably do the “real” Harry Morgan, but he’d have to come closer to Roy Earle or even Fred Dobbs (albeit with more conscience) than what he comes up with here. The film is fun enough but I wish that a more faithful film could be done with comparable talent. Strange to say, Franklin J. Schaffner’s Islands in the Stream bears enough resemblance (did they borrow from the earlier novel or was Hemingway repeating himself?) to suggest that the creators and star involved might have pulled it off.
Samuel, have you ever seen the remake of To Have and Have Not with John Garfield, ‘The Breaking Point’? Sadly I haven’t seen it as yet but have heard it is supposed to stick closer to the novel. I would think Garfield could do a good job as Harry Morgan, though I do love the Bogart film anyway.
Judy, I haven’t yet, but my understanding is that it’s the most nearly faithful of the three American adaptions. I have seen Don Siegel’s The Gun Runners, which is more of an adaptation solely of the core Harry Morgan story “One Trip Across” (that’s even the title of a song on the soundtrack) and is stuck with the uninspiring team of Audie Murphy and Everett Sloan. It updates the story to the present of 1958 and has the hero helping what looks like Castro but is closer in spirit to the hard-boiledness of “One Trip Across” while keeping that story’s happy ending. There’s really not much more of the novel than “One Trip Across” in the Hawks film, either. I envision someone a little older than Garfield for the Morgan part but I wouldn’t bet against him as an actor, and I think the man would get the real point of the novel.
OK, Judy and Samuel, what a coincidence!!!
I just ordered five Warner Archives DVDs, to take advantage of the Black Friday sale that is offered every year on the day after Thanksgiving. You MUST order FIVE (5) titles, but the great benefit is that each one will be only $10.00. I ordered:
The Breaking Point (Curtiz)
Safe in Hell (Wellman)
The Constant Nymph (Goulding)
Fingers (Toback)
One Way Passage (Garnett)
I need not tell you both what this means, but I will speak to you soon.
Samuel, I am no big fan of Hawks’s TO HAVE OR HAVE NOT, so I see where you are coming from. I haven’t read the novel however. Of all the films you saw this week, (and hope your back is feeling better today) I do like THE STRANGE CASE OF ANGELICA which deftly combined humor with morbidity and the Von Sternberg most of all all. Never abig adherent of THE SEVEN-UPS but would love to see PAYMENT DEFERRED (Laughton) and even that spaghetti western.
You had some week there yourself my friend! Thanks as always!
Now I look forward to ‘The Descendants’ AND Scorsese’s ‘Hugo’.
Out of respect for Ken Russell, whose corpse is probably still warm, I’ll just say ‘a chacun a son gout’ and leave it at that.
Speaking of Scorsese — some scattershot scribbling on a couple of revisitations.
‘Taxi Driver’ — In a cameo here, director Scorsese drops the ‘N’-bomb, thus sealing his fate with the AMPAAS as a pariah until 2006 (the three decades that include ‘Raging Bull’ and ‘Goodfellas’) and ‘The Departed,’ winner of four Oscars and one of his weaker efforts.
A tug-of-war arises between the Bressonian concept of spiritual isolation in Schrader’s script and Scorsese’s more commercial mayhem influenced chiefly, I’d say, by Hitchcock and perhaps Peckinpah, with the latter winning out in the end. Or is it the end? The arc of ‘Taxi Driver’ is an infinity loop without any real beginning or end. Travis and his checkerboard cab emerge in dreamy slow-motion from a cloud of vapor BEFORE DeNiro even applies for a job hacking. And the film ends where it began, with Bickle merging again with the city’s peepshows and neon lights: a dream of loneliness and a struggle for redemption in a city of eight million souls, most of them lost.
As a child-prostitute with an avidity for fellatio and astrology, Jodie Foster delivers one of the decade’s pivotal performances — today the twisted shadow of the Foster-infatuated John Hinckley, Jr. (who stalked Jimmy Carter before he shot Reagan) hovers over Scorsese’s metropolitan hellhole of racism, prostitution, porno, drugs and foiled assassination (as everyone knows, Bickle’s character is based on would-be George Wallace assassin Arthur Bremer, with a bitsy inheritance from the gene pool of Bresson’s country priest — Bickle thinks he’s dying of stomach cancer). This is urban decay spelled out in big, neon capital letters: a very American decay, the moribund Spirit of ’76 after 200 years of red, white and blue unraveling. New York has never looked uglier and there isn’t a single iconic shot of a NYC landmark or skyscraper anywhere in sight. The viewer can almost smell the rot, garbage, junk food, blood, jizz, liquor and cheap perfume emanating from the blasted tenement buildings and all-night dives.
One of the film’s weirdest moments: armed with an impressive firearm, DeNiro snarls ‘Suck on this’ and then shoots Keitel in the…..stomach!!! Well, Bickle is a dissociative personality.
Four out of five stars for its brilliant cast, score and visceral power, but it will be a good, long while before I visit Scorsese’s inferno again.
‘Goin’ South’ — The dirty double entendre of the title says it all. I’m half-surprised Nicholson’s randy thief wasn’t named Dick North. Two stars and that’s pushing it.
Mark—
I am thinking you won’t be liking either THE DESCENDANTS or HUGO, but I could be wrong. I don’t myself consider THE DEPARTED one of Scorsese’s “weaker” efforts–I’d said it is solidly on the middle level. It was inevitable though that after it won the Oscar, it would receive all kinds of downgrading. Scorsese missed his real chance at Best Picture gold in 1980 of course, and I agree that they would never go with TAXI DRIVER, especially since they had that safe Stallone vehicle to go gaga over. Ha! I will go one better with TAXI DRIVER with 5 of 5, but I’d be hard pressed to match that spectacular and brilliant assessment and discussion of the film! Never forget that “suck on this” and then the stomach blast, and Foster’s incredible performance which was as raw as they come. Love that ‘avidity for fellatio and astrology!’ Yes I’ve always known Bickle was based on Bremer. Love the implied connection to Bresson and the stomach cancer, real or imagined. And yes there is a sensual aspect to the film!!! You captured it all.
You really should be writing for this site my friend!
Yeah I’m not much for GOIN SOUTH either!
Thanks for this very great submission my friend!
Hi Sam,
Thanks for the mention. I actually finally posted my review of Odds Against Tomorrow and hope you get a chance to add some comments as I know you love the film. Glad you enjoyed some new films this week and I am actually looking forward to seeing Michelle Williams as Marilyn. Like I said though, I would watch Michelle read a newspaper.😉 I’m still over in the UK for another week and a half and movie watching has ground to a standstill for me as most of my days and nights are busy. It is giving me a chance to read a book though and I’m immensely enjoying some Jane Austin and reading Emma. Delightful book.
I am really looking forward to the Ford and Kubrick retrospectives and to the comments and dialogue that will surely go along with them.
I do hope you enjoyed the Thanksgiving festitivites. My coworker and I attempted to go to an “American BBQ” joint here in Chester and watch NFL on Thanksgiving to no avail as it was closed for a private party. Instead we ate Fish and Chips at the hotel brasserie and were thinking of family back home. I wish you all the best for the week ahead.
Jon—
Hope you have had a memorable trip to the U.K., though your earlier reports indicate you indeed have! I will absolutely be checking out your review of ODDS AGAINST TOMORROW pronto, as I just saw that recently at the Film Forum and revised my effusive praise of it. I can imagine what a great job you did there! I like what you say there about watching Williams ‘reading a newspaper!’ You are reading EMMA now? Great stuff, and most appropriate I might add!
It may be possible that the Kubrick and Ford retros will be happening simultaneously in fact, but I still need to go over the parameters with Peter Lenihan and Dennis.
Fish and Chips on Turkey Day? Ah, that won’t ever be forgotten! Ha! The family did have a beautiful holiday as we always do when visiting Lucille’s sister and her family with a specious home in a gorgeous locale, and with about 60 in attendance. Enjoy the rest of your time there Jon, and thanks for visiting. You are an amazing person!
Hello Sam and everyone!
I’ve just finished editing the first cut of the short film Fata Morgana, so there you go, quite some hard work was put into it, and tomorrow we shall see how it goes.
Thanks again for featuring my blog! I haven’t posted in a while, the reason being the hard work I’ve been puting in this short, so yeah, I also updated it today with my brief and humble obituary for Ken Russell. A surprising and sad loss indeed.
Wow, you had quite a week Sam! Many new releases! Hugo and A Dangerous Method are the priorities for me to see. The Artist, The Muppets, My Week with Marylin, I can wait for them a bit, I want to see more reactions regarding them, but your views here are essential! Ben Hur, the silent, is a movie I wanna see some day.
My week was filled with writing, editing and tests, and the end of the year comes near and with that the stress of the deliveries of all the works and stuff, so I’m quite tired. Anyway, I had time sunday for a concert… a public free concert, thousands of people standing, listening to chilean singers and groups singing in their day. I didn’t like all, but I liked some new groups I didn’t knew. This venture was went to with my girlfriend, and we both got burned by the sun! Haha.
So, my week film wise:
– American Masters: Woody Allen – A Documentary (2011, Robert B. Weide) ****1/2 Way to go PBS! This was a masterful and highly informative documentary on one of the most interesting and incredible american directors of all time. Filled with great insight from many people and from Woody itself, this one felt short even if it goes beyond the 3 hour mark! It’s like a serious version of the 3-4+ hours documentaries on horror series.
– Drive (2011, Nicolas Winding Refn) **** Rewatched. To see if I missed a masterpiece. I didn’t.
– New Moon (2009, Chris Weitz) *1/2 Don’t ask me why I’m torturing myself with these films, because I’m not even sure myself. Maybe I wanna see the twillight series for myself before I go around bashing and screaming at anyone who likes them. I don’t think I’ll make it out alive of these series of films. Tell my mother I love her!
– Pierrot le fou (1965, Jean-Luc Godard) ***** What a masterpiece of film! This is a gorgeously colored film with great acting and amazing scenes. It talks about cinema, liberty, art and intellectualism the way only Godard could’ve done it. The transgression here is clear and amazing in every sense. You feel as if the film and the plot took a free day and they are just having fun.
– Trespass (2011, Joel Schumacher) *** Weak effort, that manages to have a solid first half hour to just then throw it all out of the road and go with the most illogical, silly and stupid decissions ever made by characters and screenwriters. Shame that Cage doesn’t go batshit crazy here, really.
– Twilight (2008, Catherine Hardwicke) ** The movie manages to have a certain identity before going all the wrong places and with one of the worst scenes in movie history (the forest scene) I’m left with nothing but dislike for the first entry on the movies based on the novels of Stephanie Meyer.
That’s all, thanks Sam and have a good week!
Jaimie—
I look forward to the finished product (Fata Morgana) and well understand the work and time expended on it made it difficult to blog. But making the film is far more important anyway. I certainly will check out that Ken Russell obituary, and very much appreciate all you did to advance the proposition of a eulogy or remembrance, one that manifested itself in Allan’s beautiful piece. Yes, Russell’s loss, even though it followed a long period of failing health is remains incalcuable. He did have a good run (84) but it is never easy to accept I agree.
Yes HUGO and A DANGEROUS METHOD are the ones to go for I quite agree, with THE ARTIST and the others as soon as you have time. Then we have SHAME and KEVIN coming up, with the former opening in NYC this coming Friday. And yes the silent BEN-HUR is essential for all silent era fans and all cineastes in general for a host of reasons.
Aye, I know you have been working very hard this past week, but even though you attracted a little unwanted sunburn, I applaud you for fitting in the Chilean singers concert with your girlfriend.
I have no use for NEW MOON, TWILIGHT or TRESPASS, but you basically admitted as much yourself. The Godard doesn’t quite rate that high for me, but it is one of the films that I do like from a director I have long conveyed difficulties with.
DRIVE will be making my Top Ten films of 2011 list to appear in several weeks, but I can’t complain with your 4/5 rating. I can’t wait to see the Woody Allen documentary, especially now that you have joined in singing its praises.
Have a great week, and hope to hear more good news about the film. Thanks as always my very good friend!
Thanks for mention, Sam.
It’s good to hear the directors of old school are kicking alive and well. Cronenberg used to be one of my favorite directors, so his new output is very interesting. It seems, however, the theatrical release of “The Dangerous Method” in Japan has not been determined yet. Considering the current climate of Japanese film market (more than half of the theaters/screens are targeted toward kids, we have three screens for Happy Feet 2, three screens for Kaibutsukun The Movie, three screens for Three Musketeers in our local theater), it may end up in straight-to-DVD category. Scorsese’s Hugo seems to fare better, due on next March here. (Not that I hate kid’s movies, but I find this blatant marketing a bit annoying. Or maybe it’s consumer’s fault.)
The silent “Ben Hur” is a mixed bag for sure, but I am inclined to think the chariot scene is more dynamic in this silent version. The treatment of animals in shooting this scene would not be tolerated today, I think.
John Ford and Kublick projects sound great!
MI
MI—
I can’t say I’m surprised at the multiplex situation in Japan. It seems to be the scourge of cinemas worldwide these days! I am saddened though that Cronenberg’s new film may not find a release, or at least for quite some time. Sad state of affairs. Geez, even HAPPY FEET is commanding multiple screens. God. Scorsese’s HUGO is that rare film based on a children’s book, whose prime appeal with be with adults in view of the silent cinema and Melies elements that are dominant. I also recommend THE ARTIST (French) that just won the NYFCC prize. I think though that I will stop short of recommending THE MUPPETS for a host of reasons, though I did connect with that phenomenon with the upbringing of my kids. it’s a stirring nostalgic film.
The 1959 BEN-HUR is a better film than the silent, though the silent does have some great things about it too (as you acknowledge). True what you say there about the animals.
And the Ford and Kubrick projects do indeed look promising!
Thanks as always my friend!
Sam, I just saw on-line that the French movie about silent cinema, The Artist, was named Best Picture by the New York critics group.
When did the NYFCC start voting so early? They’ve been full of shit for so long now. We’re back to the bad old days when Bosley Crowther’s philistine tastes dictated the critics’ prizes and, by extension, the Oscars.
No love for Malick, no love for ‘Poetry’. Well, it looks like they got the supporting actor and actress award just about right.
Aye Peter, I have actually been following the announcements/updates all day over at Craig’s place. The film’s director also won.
Ha Mark! You are right in the sense that they opted to vote so early this year to be the “first” group to award prizes. They clearly wanted to end the reign of HE NATIONAL BOARD OF REVIEW, who will be voting tomorrow. THE TREE OF LIFE (which will be my own #1 film of the year unless some drastic things happen over the next few weeks) did well with them -check the announcements below- but it didn’t win the big prize. THE ARTIST is a very good film–charming as they come, but somewhat slight, and not seemingly the best choice they could have made. But I will be seeing a second time later this week to further evaluate their pick here.
Thanks for the mention, as always, Sam. Sounds like you had a great week. How did you manage all that with Thanksgiving, too?! I only saw one movie on DVD, The King of Kong, which was excellent, hilarious and thrilling.
I thought Hugo sounded great but was disappointed by the trailers. And then all this torrent of love from critics and bloggers restored my interest–very eager to see it now. Also eager to see The Muppets. Unfortunately it might take me a week or two until I get through all the schoolwork I have piled up. There’s so many great-looking movies coming out over the next month–I just hope they actually make it to my town. I’m not sure either Take Shelter or Martha Marcy May Marlene will make it here, nor Shame or We Need to Talk About Kevin. I’m pretty sure The Artist will make it here, and A Dangerous Method, but I can’t be sure. Part of the reason is there are just so many movies coming out–it’s difficult for the two main theaters and the tiny arthouse cinema to keep up with all of them when they’ve already got packed schedules. I might have to find creative means to see some of these.
Stephen—
Thanks very much my friend! I managed all those films by utilyzing Friday, Saturday and Sunday, and by attending a late showing of A DANGEROUS METHOD in a nearly-deserted Manhattan well after the festivities had ended (at 10:15 P.M.) Traditionally, the Thanksgiving week is the biggie for movies and I plan accordingly. Ha! I haven’t watched THE KING OF KONG to this point, but glad to hear you liked it!
I’m sure you will have A DANGEROUS METHOD, THE ARTIST (which just won the NYFCC prize today!) as well as HUGO, but you may have some of the others too with a bit of luck. This is an exciting time Stephen, and I hop you’ll be able to find a way to see these. Of course, SHAME opens this coming weekend.
Good Luck my friend with your studies, and thanks as always for the great submission here!
Here are the New York Film Critics Circle Results announced today!!!!
•Best Picture: The Artist, Michel Hazanavicius
•2011 Special Award to be given posthumously to filmmaker Raoul Ruiz
•Best Cinematography: Emmanuel Lubezki, The Tree of Life
•Best Screenplay: Steven Zaillian and Aaron Sorkin, Moneyball
•Best Director: Michel Hazanavicius, The Artist
•Best Foreign Language Film: A Separation, Asghar Farhadi
•Best Actor: Brad Pitt, Moneyball and The Tree of Life
•Best Supporting Actor: Albert Brooks, Drive
•Best Actress: Meryl Streep, The Iron Lady
•Best Supporting Actress: Jessica Chastain, The Tree of Life, The Help and Take Shelter
•Best Nonfiction Film: Cave of Forgotten Dreams, Werner Herzog
•Best First Feature: Margin Call, J.C. Chandor
A PILE OF WANK!!!!!!!!!!!!!!!!!!!!!
2011 Special Award to be given posthumously to filmmaker Raoul Ruiz
Surely it should be awarded posthumously rather than given. How do you give something to someone in the Undiscovered Country. Could you imagine it: “joining us by satellite, all the way from paradise, Raoul Ruiz!”
LOL!!!!!!!!!!!!!!!!!!!!!!!
They could hold a seance. Do a Tarot spread, or something. That would at least make such an awards ceremony interesting, at least.
Oh, Christ.
I just read the National Board of Review’s list of winners for 2011.
Tilda Swinton seems like an interesting choice, though I haven’t seen her new movie yet. But I see Malick is still persona non grata for the audacity of ‘The Tree of Life’. And where, o where, is Hunter McCracken’s name in all this year-end gangbanging? Or Yun Jeong-hee (‘Poetry’)? Or Lee Chang-dong (director, ‘Poetry’)?
I weep for film art.
Thanks Sam for the mention, and apologies for joining in late.
Wow, you had a terrific week as far as movie viewing goes. Hugo is a movie that’s kept me interested as well. So, given you positive reaction to it, I most certainly will be hoping to get hold of it sooner or later – as also the other movies you’ve watched, including the much acclaimed Artiste, and Hugo, Scorsese’s foray into 3D animation.
I’ve managed to watch a few movies in the meantime – Ray’s brilliant swansong Agantuk (The Stranger), the delectable Czech movie Kolya, and Ritwik Ghatak’s tragic human drama Subarnarekha (The Golden String). And, given that my 5th trimester is over, my movie viewing shall only increase hereon🙂
Shubhajit—
It’s never late at this thraed! Many thanks to you as always! I greatly look forward to your reaction to HUGO and THE ARTIST, and several others that have opened and/or are opening over the coming weeks. I know that Ray you saw is a great one, and I always was reasonably charmed by KOLYA. I haven’t seen that particular Ghatek, but of course love his work, especially THE CLOUD-CAPPED STAR.
I am very happy to hear you will have more time very soon. You have earned it my friend!
Thouroughly enjoyed MY WEEK WITH MARILYN (just bought the book, too) and was very impressed with both Williams and Redmayne. Having met Redmayne when he appeared on Broadway thoroughly added to the enjoyment. THE ARTIST, on the other hand, brought less enjoyment and major disappointment. The novelty wore off after the first half hour and I yearned to exit the theatre. A Harlequin dime-store romance has more substance and worth than this film. I know I am truly among the minority, but WTF, it’s the US of A, correct? HOUSE OF PLEASURES falls in between both. At times it had merit, but more often than not was long in the tooth. I will say that the final segments of the film were enthralling. Watching the stunning imagery to the tune of ‘Nights in White Satin’ was mesmeriszing.
As always Bob, you are not one to mince words or sentiments, but that’s always been one of your finest points! Ha! I’m sure it was great meeting Redmayne, and by and large I agree with your sentiments on MARILYN. We both had quite a wekend at the movies, regardless of how the chips fell.
Thank you Sir!
http://patriciaswisdom.com/2011/12/creation-%E2%80%93-a-movie-review/ Here is my next movie review…and a book review combined FYI
Thanks very much for this Patricia!
I will be checking out this link pronto!
Sam, I’m jumping into the fray a little late, but I see you have had more than enough comments to keep you busy. Not to mention plenty of events! Of everything you wrote about, I think I am most looking forward to A Dangerous Method, though Hugo and The Artist are close behind. However, I’m not sure I want to break my NO 3D rule, even for Marty. What do you think about it? Can I get by without 3D in Hugo?
I actually managed to make it to the movies a couple times this week. Finally taking in Melancholia and The Skin I Live In, an amusing little double feature. I enjoyed The Skin I Live In, but I wish Almodovar had taken the idea a little further. Still, Almodovar is the only director out there who consistently surprises me and I had great fun with it. As for Melancholia… well I have some words for Lars von Trier that I will be posting soon.
Hope everything is well with you and your family out in the chilly East.
Jason—
It is the annointed time to break your long-running and understandable 3D rule for Marty. This was certainly the best use of the medium I’ve seen (I also liked the way Herzog used it in CAVE OF FORGOTTEN DREAMS) and one that fully takes in all the visual possibilities. And HUGO by any stretch is worthy of the embellishment and vice-versa. Yes, THE ARTIST is a wonderful film, and one that strongly competes for my ten-best list (as does HUGO) I believe you will love both! Some think Almodovar actually went too far (ha!) but I tend to agree with you! I greatly look forward to your views on MELANCHOLIA!!!
Yes, things are getting frosty in these parts as of late as expected, but the prestige movie season has certainly warmed things up. Have a great week my friend, and many thanks as always for stopping in!