Conrad Veidt and Mary Philbin in Universal’s 1928 masterpiece THE MAN WHO LAUGHS by Paul Leni, one of the greatest films in the history of the cinema
by Sam Juliano
Indian summer is just about upon us, though the more seasoned veterans would apply the term dog days of summer. Either way we seem headed for outdoor steam baths in our respective locations, and many of us will be taking to the roads. The 2012 summer Olympic games are officially underway in London, and many will be following the events intensely. Here at WitD, our tempered smiles will soon be exploding in bouts of laughter as the comedy poll is just one week away from launch. As stated on last week’s thread, the project will be underway with an essay on the No. 100 comedy choice on Monday, August 6th by Tony d’Ambra, and will continue well into December, up until the Number 1 placement is posted. By sheer volume, and involvement this is expected to be the most auspicious project ever staged at the site. The posts will run every Monday through Friday. Writers are asked to send reviews to me by e mail, though between August 20 through the 24th I will be out of state, and Allan will handle the postings. I will still comment from my out of state location at the site during those days.
Readers are urged to check out Jaimie Grijalba’s Top 100 ‘horror films’ countdown at Exodus 8:2. Grijalba’s short film will soon be posted for viewers to access as well.
The past week’s insanity was one of the most cinematically blistering of 2012, as Lucille and several of the kids watched a slew of Universal films as part of the long-running Festival at the Film Forum. We saw eleven (11) Universals, and one recent release, Killer Joe, on Saturday, our 17th wedding anniversary.
We saw:
The Goose Woman **** (Tuesday) Universal at Film Forum
The Man Who Laughs ***** (Tuesday) Universal at Film Forum
All That Heaven Allows **** 1/2 (Wednesday) Universal at Film Forum
Imitation of Life (Sirk version) **** (Wednesday) Universal at Film Forum
Phantom Lady **** (Thursday) Universal at Film Forum
The Suspect *** 1/2 (Thursday) Universal at Film Forum
The Bride of Frankenstein ***** (Friday) Universal at Film Forum
The Black Cat **** 1/2 (Friday) Universal at Film Forum
The Wolf Man **** (Sunday) Universal at Film Forum
The Invisible Man ***** (Sunday) Universal at Film Forum
The Mummy **** 1/2 (Sunday) Universal at Film Forum
Killer Joe *** 1/2 (Saturday night) Landmark Sunshine Cinemas
Of this past week’s Universal offerings two all-time masterpieces were shown: Paul Leni’s ravishing THE MAN WHO LAUGHS and the film that many consider the best of the Universal horror films, James Whales’s THE BRIDE OF FRANKENSTEIN. This is the second time I have seen the Whale on a big screen over the past few years, having previously negotiated it at the Jersey City Loew’s movie palace. melodrama genre and is based on a novel by Victor Hugo. In THE MAN WHO LAUGHS, Conrad Veidt’s performance, the makeup, art direction and Paul Leni’s expressionist point of view make for a melodrama presented as a horror film. Veidt as Gwynplaine is filled with expression and sadness -using only his eyes- that in unforgettable. Olga Baclanova nearly steals the film away from Veidt as Duchess Josiana who loves to do what she wants and has an inexplicable facination with Gwynplaine. Baclanova is captivating with sizzling sexuality dealing with an ambiguous and complex character. The Gwynplaine character of course was an inspiration for the Joker in the BATMAN comics and films, and the magnificent use of the operatic song “When Love Comes Stealing” by Walter Hirsch. in a gorgeous and poignant score is one of the cinema’s genuine glories. There are few films in my life that have affected me as deeply as THE MAN WHO LAUGHS. The Region 1 Kino DVD is a must own.
Douglas Sirk’s ALL THAT HEAVEN ALLOWS (the film that inspired Todd Haynes to write and direct FAR FROM HEAVEN and Rainer Fassbinder to create ALI: FEAR EATS THE SOUL) is trademark Sirk with the sumptuous visual design, ironic underpinnings, and focus on the conformity-obsessed 1950’s. As always composer Frank Skinner makes a vital contribution, as he does even more impressively in Sirk’s final American film IMITATION OF LIFE, which all things considered in less impressive than Stahl’s 1934 version (seen last week) but still bringing together some of Sirk’s impeccable craftsmanship.
Robert Siodmak’s flawed THE SUSPECT isn’t quite film noir, but still boasts another impressive turn from Charles Laughton and an intriguing story in a period costume piece; Siodmak’s PHANTOM LADY features some dazzling style and set pieces, and the rare silent THE GOOSE WOMAN by Clarence Brown deserves a DVD release. Steve Sterner’s live piano accompaniment was real nice. As far as THE MUMMY, THE WOLF MAN, THE INVISIBLE MAN and THE BLACK CAT, they never fail to entertain no matter how many times you see them, though of the four, for me the two that really stand out are THE INVISIBLE MAN with a brilliant Claude Rains in the lead and terrific application of humor and the art-deco Expressionistic THE BLACK CAT by Edgar Ulmer. The weakest of the four films, though still fun, is easily THE WOLF MAN. The tomb sequence in THE MUMMY is one of the best in any Universal film.
William Friedkin’s trailer trash burst of black humor and sickening violence titled KILLER JOE features a superlative performance by Matthew McConaughy as a chilling sociopath devoid of morals in a film that still manages to rivet throughout. Friedkin is anything but laid back at age 76, and his latest venture is both fascinating and repulsive at the same time. Definitely worth a look, especially if you have a strong stomach.
Even with all the frantic activity at the Film Forum I was still able to watch four more first season episodes of THE WIRE. The series continues to grip after a modest beginning, and I look forward to continuing over the coming days.
Ravishing composition near the end of Douglas Sirk’s 50’s melodrama “All That Heaven Allows”
I managed to update a good number of links:
Jaimie Grijalba has launched a horror countdown at Exodus 8:2 with a terrific essay on Hammer’s “The Brides of Dracula”: http://exodus8-2.blogspot.com/2012/07/100-dias-de-terror-n5-brides-of-dracula.html
Tony d’Ambra has penned a superlative essay on on Anthony Mann’s “Strange Impersonation” at FilmsNoir.net: http://filmsnoir.net/film_noir/strange-impersonation-1946-dirty-science.html
Judy Geater has penned a terrific review on Hitchcock’s ‘The Ring’ and the BFI’s retrospective on the master director at Movie Classics: http://movieclassics.wordpress.com/2012/07/20/the-ring-alfred-hitchcock-1927-and-the-bfis-hitchcock-retrospective/
The always fecund Jon Warner has penned a terrific review of Howard Hawks’s “Only Angels Have Wings” at Films Worth Watching: http://filmsworthwatching.blogspot.com/2012/07/only-angels-have-wings-1939-directed-by.html
John Greco has penned a terrific piece on Archie Mayo’s “Illicit” with Barbara Stanwyck at Twenty Four Frames: http://twentyfourframes.wordpress.com/2012/07/27/illicit-1931-archie-mayo/
Laurie Buchanan at her oasis of positive energy (Speaking From The Heart) talks about the ‘Safest Distance Between Two Points” and ‘taking risks’: http://holessence.wordpress.com/2012/07/24/the-safest-distance-between-two-points/
Samuel Wilson has penned a stupendous review in his DVD Diary series on the Stanwyck pre-coder “Shopworn” at Mondo 70: http://mondo70.blogspot.com/2012/07/dvr-diary-shopworn-1932.html
Ed Howard has written a terrific review of Chaplin’s “The Circus” at Only The Cinema: http://seul-le-cinema.blogspot.com/2012/07/the-circus.html
Roderick Heath has authored another one of his stupendous epic essay (on Snow White and the Huntsman) at Ferdy-on-Films: http://www.ferdyonfilms.com/2012/snow-white-and-the-huntsman-2012/15337/
R.D. Finch has crafted a superlative review of Ingmar Bergman early masterwork “Summer with Monika” at The Movie Projector: http://themovieprojector.blogspot.com/2012/07/summer-with-monika-1953.html
Murderous Ink at Vermilion and One Nights is not overly impressed with Kaneto Shindo‘s documentary on Kenji Mizoguchi: http://vermillionandonenights.blogspot.com/2012/07/kenji-mizoguchi-life-of-film-director.html
Shubhajit Laheri has posted one of his brilliantly-written capsules reviews at Cinemascope on Andrezej Wajda’s “Man on the Tracks”: http://cliched-monologues.blogspot.com/2012/07/man-on-tracks-1956.html
Terrill Welch talks about the significance of blog writing and reading at the Creativepotager’s blog, where she again features another magnificent painting she completed: http://creativepotager.wordpress.com/2012/07/18/does-anyone-read-blogs-and-does-it-matter-that-you-write/
Joel Bocko’s latest post is a superlatively-penned essay on Spade and Marlowe, private eyes at The Dancing Image: http://thedancingimage.blogspot.com/2012/06/spade-marlowe-private-eyes-maltese.html
Sachin Gandhi’s ‘Euro 2012’ has wound down, with some noted cinematic vehicles crossing the finish line at Scribbles and Ramblings: http://likhna.blogspot.com/2012/06/euro-2012-final.html
Murderous Ink at Vermilion and One Nights takes a probing look at Hiroshima and the great director Kaneto Shindo, who passed on at age 100 a weeks back: http://vermillionandonenights.blogspot.com/2012/07/sakura-tai-chiru-1988.html
Roderick Heath has posted a terrific new review on “Chronicle” at This Island Rod: http://thisislandrod.blogspot.com/2012/07/chronicle-2012.html
David Schleicher takes a fascinating look at “The Hunter” at The Schleicher Spin: http://theschleicherspin.com/2012/07/28/nature-redemption-and-tasmanian-tigers-in-the-hunter/
At Patricia’s Wisdom, our very good friend has penned a fascinating review of a book focusing on the ‘feminist mystique’ in the 1960’s: http://patriciaswisdom.com/2012/07/a-strange-stirring-the-feminine-mystique-and-american-women-at-the-the-dawn-of-the-1960s-stephanie-coontz/
J. D. at Radiator Heaven takes a meaningful look at “Good Morning Vietnam”: http://rheaven.blogspot.com/2012/07/good-morning-vietnam.html
lAdam Zanzie has crafted a passionate defense of Oliver Stone’s “Savages” at Icebox Movies: http://www.iceboxmovies.blogspot.com/2012/07/oliver-stones-savages-is-powerfully.html
Jason Marshall has written a buffo piece on Claude Rains, his #1 choice for Best Supporting Actor in “Casablanca” at Movies Over Matter: http://moviesovermatter.com/2012/07/12/apparently-youre-the-only-one-in-casablanca-with-less-scruples-than-i-claude-rains-best-supporting-actor-of-1942/
Craig Kennedy reviews the new blu-ray/DVD combo pack of the critically-praised but mutilated “Margaret” at Living in Cinema: http://livingincinema.com/2012/07/10/margaret-directors-cut-lands-on-dvd/
Peter Lenihan has posted an arresting screen cap display of Murnau’s “Phantom” at The Long Voyage Home: http://thelongvoyagehome.blogspot.com/
At Doodad Kind of Town Pat Perry’s splendid contribution to the For the Love of Film Preservation blogothon is on Hitch’s “Mr. & Mrs. Smith”: http://doodadkindoftown.blogspot.com/2012/05/hitch-does-rom-com-for-love-of-film.html
Just Another Film Buff has penned a terrific capsule on Satoshi Kon’s 1997 “Perfect Blue” at The Seventh Art: http://theseventhart.info/2012/05/19/ellipsis-61/
At The Blue Vial Drew McIntosh leads up with “off the Wall” which brings “Silver Load” and the great John Alton into focus: http://thebluevial.blogspot.com/2012/06/off-wall.html
At The Last Lullaby, the ever delightful filmmaker Jeffrey Goodman takes a look at part sixteen of his long running quartet series: http://cahierspositif.blogspot.com/2012/04/favorite-four-part-sixteen.html
Stephen Russell-Gebbett at Checking on my Sausages again offers up a briiliantly creative feature, using the upcoming Olympics to survey films revolving around a number of sports covered in the games: http://checkingonmysausages.blogspot.com/2012/07/film-olympics-archery-to-judo.html
Tony Dayoub takes a look at the summer’s Barnes and Boble 50% off sale for Criterion collectots at Cinema Viewfinder: http://www.cinemaviewfinder.com/2012/07/criterion-summer.html
Greg Ferrara at Cinema Styles talks about the Colorado shootings in a moving feature: http://cinemastyles.blogspot.com/2012/07/the-dark-knight-shooting-in-colorado.html
A notable artistic collaboration leads the way at Michael Harford’s heartening Coffee Messiah’s blog: http://coffeemessiah.blogspot.com/2012/05/collaborations.html
Jeopardy Girl talks about social changes of movie watching in her latest posting at The Continuing Saga of Jeopardy Girl: http://jeopardygirl.wordpress.com/2012/07/06/social/
Hokahey has penned a terrific takedown of “Battleship” at Little Worlds: http://hokahey-littleworlds.blogspot.com/2012/05/boom.html
Dave Van Poppel has a tremendous batch of short reviews up at Visions of Non Fiction on the Toronto Film Festival: http://visionsofnonfiction.blogspot.com
Click on names for archives
Writers/Founders
Well, I’ll go first again since there is a good chance I won’t have the opportunity to get in a response tomorrow afternoon. Was once again able to watch a number of films this week and got an eclectic bunch. I found a used DVD store near my place and found a number of interest titles for $3, and with a buy 2 get 1 free deal, so I made off with a haul of new films and discs of favorites I didn’t yet own. And I have also been watching a lot of the Olympic coverage (which is maddeningly tape-delayed, but oh well, I still enjoy it). Anyway, here are the films I got to this week – I can get used to this having Fridays off thing like I did this week! LOL
The Dark Knight Rises (Nolan) – Bloated, but one hell of a ride. I would say it’s the second best in the trilogy. As with all his other films, it suffers a bit from Nolan’s seeming inability to recognize when a scene has truly reached its climax and no longer needs to be stretched, but it still nearly reaches the heights of TDK. Not quite, but close. 4/5 for me.
Confessions of a Dangerous Mind (Clooney) – No thanks, far too disjointed for me. Didn’t care for it at all.
Big Trouble in Little China (Carpenter) – Campy fun, although as with other Carpenters I have seen, I don’t see it as the type of cult classic that many others apparently do.
Undertow (Greene) – The influences of Malick and Night of the Hunter are immediately obvious. The ambiance is what sticks out most. I wouldn’t call it a great film, but it’s one that develops enough of a mood to keep you interested in the well-worn plot. 3/5.
Breaking News (Johnnie To) – I don’t know if many folks have seen this, but the opening shootout is one of the most impressive action sequences I have seen. To shows off all of his moviemaking chops. The overall films is solid enough, but it’s To’s skills that shine most of all. Overall, it’s probably closer to a 3/5 type film, but based on that opening and some other great shootouts, I’ll give it a 4/5.
Brother (Kitano) – I’ve only seen two Kitano films, and this one is nowhere near as good as Sonatine. In fact, it contains a number of “gangbanging” cliches, but Kitano’s unique style and tone come through – his ability to display hardened, callous lead characters in some brutal situations, yet still somehow show a bit of humer. 3/5.
The Pledge (Penn) – Pretty standard direction from Penn, but it works because he gets out of the way and lets the unnerving, suspenseful story unfold without any interference. What Penn and co. (particularly Jack Nicholson) do accomplish very well is making the last 40 minutes or so incredibly suspenseful, with an impending doom lurking behind every action and character entrance. Very good, 4/5 and a film that probably deserves more praise than it receive on its initial 2001 release.
The Year of the Dragon (Cimino) – The Deer Hunter and Heaven’s Gate both have their moments, but I think this might be my favorite Cimino, and IMO, his most underrated. It has another outstanding Mickey Rourke neo-noir performance and some great action sequences. And I love those blue-tinted shots of New York from Tracy’s apartment.
I also revisited two films that I had previously seen…two favorites of Allan’s.
Heaven’s Gate (Cimino): I picked up a copy of Cimino’s epic flop/classic (depending on who you ask) and watched it for a second time. My feelings concerning it are similar to my first watch during Allan’s 80s countdown – there is some great filmmaking scattered throughout, and a great story centering on the Johnson County War there, but it’s a bit too stretched out for me. Which is not to say I have a problem with a director stretching out – Malick might be my favorite living filmmaker. But, I never find myself checking the running time of a Malick film, and I do a bit during Heaven’s Gate. The entire Harvard sequence could have been cut and nothing would have been lost, IMO. That being said, this film might very well be Vilmos Zsigmond’s shining moment.
The Prestige (Nolan): Really liked this one a second time around. In fact, I must not have paid must attention the first time, as I couldn’t remember exactly what the twist was. I supposed it would be easy to accuse Nolan of continuing to use his “gimmicky” scripts to try and shock/entertain an audience, but even if I agreed with that (which I generally don’t), that type of trickery fits the subject matter of the film perfectly. I still wouldn’t personal rank it at #10 for the 2000s as Allan did, but I can understand his decision much better now, I do think I could place it in a top 40-50.
Another wonderful MMD, Sam! Sounds like the family has had some great times during the Universal festival. And congrats on the 17th wedding anniversary!
Dave—
Having time off like that is dangerous! Ha! I’m already thinking of making one more stop at B & N, as here on the east coast the sale ends in about two-and-a-half hours or so. But I have pretty much obtained everything I wanted to at this point. But you certainly have made some major acquisitions in the last few weeks. Great that you have managed to get in some quality Olympic time, though I know the tape-delay is a pain. Heck you are seven hours after London I think.
I am pretty much with you on THE DARK KNIGHT RISES. Allan also rates it at 4/5, as per e mail communication. I am no fan of that Carpenter, CONFESSIONS OF A DANGEROUS MIND nor UNDERTOW, though I’d rate the last of these as best. I haven’t seen BREAKING NEWS nor BROTHER, but very much appreciate the engaging capsules, especially on the former, which clearly must be seen. As far as THE PLEDGE I like it less, but will concede what you say about the two lead performances. Similarly I am not quite the fan of YEAR OF THE DRAGON as you are but will agree there are some great aspects.
Agreed that Zsigmond’s cinematography in HEAVEN’S GATE is stunning. I guess you will be quite thrilled to know that Criterion will be doing the film, as per some telling info on the forums. The information was sent on to me last week by Allan in fact. I will certainly give the Criterion a major go, but I’m afraid I am pretty much with you on this film. My favorite Cimino is THE DEER HUNTER. As far as THE PRESTIGE, it’s a popular title here at WitD, with Allan and Maurizio giving it their highest rating and Yours Truly much more impressed on re-viewing. This is a film that will gain in future screenings. As always you write with great insights my friend. I appreciate the very kind words for Lucille and I.
Have a great week on the movie scene and elsewhere! Thanks for the utterly spectacular wrap!
Sam,
Thanks again for the shout out. You had an amazing week at the Film Forum Sam. Your pace gets me tired just looking at the list, a great set of films by the way. My own week was mostly spent doing stuff around the house that needed to be done and trying to squeeze in some writing time in between. Anyway, I did manage to view four films this week. Looking foreward to the comedy countdown.
A Cry in the Night (**1/2) Unoriginal tale of a teenager (Natalie Wood) kidnapped by a child-like man, think Lenny in OF MICE AND MEN, played by Raymond Burr. Her father is an over protective cop who wants to lead the investigation. Just a mess.
The Prowler (****1/2) Dark sleazy film noir about a crooked cop resentful of his own failed life. He meets lonely wife Evelyn Keyes when answering a late night call setting in motion a downward spiral of events that ends naturally in death. Terrific performances from both Van Heflin and Keyes. My favorite film from Joseph Losey.
Compulsion (****) Fictionalized version of the Loeb-Leopold murder and trial. Bradford Dillman and Dean Stockwell are excellent as is Orson Welles in the role of their Clarence Darrow type attorney. Welles film ending summation goes on a bit too long but overall this is a riveting film.
The Walking Dead (***) Warner Brothers flick mixes two genres, horror and gangster, in this odd little tale of a man (Boris Karloff) framed for murder. He’s convicted and executed, however he is brought back to life by still another mad movie doctor. Back from the dead, Karloff wants to know why these gangsters picked him to take the fall. Enjoyable if you don’t mind the loss of logic in many of the scenes .
John—
As I mentioned to Michael Harford, I really have gone too far with this obsession. Mind you, Lucille and the kids almost always enjoy the trips, but moderation is usually the best way to appreciate these ventures. But it’s always one thing leads to another and so on. And now the “French Old Wave’ festival has been announced with a number of films marked ‘essential.’ In any case I agree the Universal Festival has yielded some excellent stuff, much of familiar of course, but a few not so. I completely agree with you on Losey’s THE PROWLER, which is certainly among the director’s best films. You frame it superbly! I also am pretty much with you on both COMPULSION and THE WALKING DEAD, two films I fondly recall, and agree that A CRY IN THE NIGHT is forgettable. Great capsules as usual John! Wish you and Dorothy a great week my friend!
Congratulations on your wedding anniversary, Sam, and glad you and the family are enjoying the Universal festival. My family is currently enjoying all the Olympics coverage and busy switching between the multitude of extra channels featuring various live sports. Here’s wishing a good week to you and everyone, and looking forward to the comedy countdown.
I have seen a few films at home this week… ‘The Third Man’, which was a repeat viewing but I’d seen it many years ago and didn’t really remember it, plus a great Kirk Douglas double bill, ‘Champion’ and Wyler’s ‘Detective Story’; and a screwball comedy directed by John Ford, ‘The Whole Town’s Talking’, with Edward G Robinson in a double role as a mild-mannered office worker and a gangster. I really enjoyed all four and am now reading Graham Greene’s novella of ‘The Third Man’.
Thanks very much for the kind words Judy! Can’t blame you for keeping a close watch on the Olympics with that backyard venue. I have been looking here and there, but need to spend a more sizable amount of time. Like you I have very high regard for THE THIRD MAN, and applaud you for taking it further with Graham Greene’s novella! I also like THE DETECTIVE STORY and CHAMPION quite a bit, but haven’t seen that Ford screwball comedy. Thanks so much for the greetings, kind words, and excitement for teh comedy countdown my very good friend!
Hey Sam. We are having a Universal 100 series here in Sydney too at a famous art-deco cinema. But the program starting late next week is rather limited . Highlights for me will be:
Dracula
Bride of Frankenstein
To Kill A Mockingbird
I have just posted a review at filmsnoir.net of a 1946 Republic programmer – an early Anthony Mann – Strange Impersonation: a weird confection that has you engaged throughout and uses its 68 minutes with economy to tell a lurid story of blackmail, deceit, and attempted murder, where the dames hold all the cards. Great fun.
Tony—
Fantastic news that Sydney is also doing a Universal retrospective! Even with the limitations you attest to, the trio you are most interested in needs no embellishment from me. Ha! The horror films are iconic, and for decades I have extolled the virtues of MOCKINGBIRD, and have used it while teaching a unit to Jr. High Schoolers. I continue to count it as one of the greatest novel-to-film adaptations ever. Elmer Bernstein’s score is one of the most beautiful ever written, but there’s so much more. I saw STRANGE IMPERSONATION last year at the Anthony Mann Festival and completely agree it’s a crafty and economical film, which serves again to showcase Mann’s diversity. I did change the link this morning. Look forward to the report from the Universal Festival! Have a great week my friend!
Wow – How do you do it?
Have a great trip and I’ll wave as you pass through the N part of the state –
Not sure if you’ve seen this:
Otherwise, the unrelenting heat, since late May hasn’t let up and who knows what August will bring –
Cheers!
Wow, Michael you really made my day with this magnificent short. You had me scurrying to google to take a look at its creators too! In the tradition of surrealism and Dali, it brings far eastern art to visual distinction, and the music is lovely. I just now read the lyrics. Really great stuff!!! Thanks for alerting me to this!
I will definitely be waving to you my friend!
As far as the festivals go, I will be the first to admit that it is wreckless and irresponsible, and at some point I will need to pull back. I know I’ve said that before, but then go deeper. Have a great week my friend! Many thanks as always! The heat is upon us over here too, we’ll need a miracle to escape it in August. Ugh!
Sam
Thank you for the mention!
It seems like you had full load of Universal horror films last week. Of course, I am a big fan of Universal late silent/early talkies (who isn’t?), and “The Bride of Frankenstein” is really masterpiece of the era (personally I love “Old Dark House” among James Whales’ films). Paul Leni’s “The Man Who Laughs” is another film I want to see on big screen (yeah, I own Kino DVD). But still, I think other Hollywood films of European directors in late silent era deserve more attention; Benjamin Christensen (I haven’t seen his “Seven Footprints to Satan”, yet), Victor Seastrom, Paul Leni, Paul Fejos, etc. Some of their works are available in less than acceptable quality, and need restoration works and digital transfer.
This week I saw De Sica’s “I bambini ci guardano (Children Are Watching Us, 1944)” and William K. Howard’s “The Valiant (1929)”. De Sica’s film was better than I had expected, carefully coordinated direction and exceptional cinematography. William K. Howard’s early talkie is largely saved by Paul Muni’s performance. The great opening sequence anticipated more to follow, but the rest of the film falls flat.
You liked Friedkin’s new work? Frankly, I wasn’t expecting, so I will catch “Killer Joe” when it opens here.
MI
M.I.—–
Agreed what you say there about THE BRIDE OF FRANKENSTEIN in the Universal horror pantheon, and certainly would add THE OLD DARK HOUSE to any list of favorites in the genre. As I stated it was thrilling to watch THE MAN WHO LAUGHS, and I do hope you get an opportunity. You mention Fejos, whose LONESOME is showing in the festival next week. (Monday, Aug. 6th) I’ll certainly be there. Seastrom (Sjostrom) is a big favorite, what with his direction of three masterworks, THE PHANTOM CARRIAGE, THE WIND and THE SCARLET LETTER, with the latter two in Hollywood. Christiansen’s HAXAN is of course a masterwork, but I still need to see the Hollywood films he made in the late 20’s before returning to Denmark. I have seen that DeSica film and have the DVD, and agree it’s better than many believe. I agree too on THE VALIANT as nothing special. As I stated to others, KILLER JOE is a raw and nauseating film, yet it works largely because it’s uncompromising and because of the performance by MM. I’d be curious to know what you think. Thanks as always my friend, and have a great week!
According to this morning’s Bergen Record, China leads the US by one medal, and by three gold. I’ve been watching the events unfold, and must say the US women’s swimming team id doing exceptionally well. That was quite a festive opening ceremony too.
So Killer Joe was not the abomination that a few had been saying it was. If it shows up in Montclair I’m there. Tell me I’m not surprised at your attendance at the Universal Festival. I bet the kids loved that triple feature yesterday.
Frank, Italy is also doing well, which is somewhat of a surprise.
Frank—
It should stay neck and neck till the end the way I see it. Had Russia not been broken up into many nations, it would be a three-way log-jam at the end. Yes, the women’s team have done exceptionally well. I missed most of the opening ceremony, but was appraised of it by Allan.
KILLER JOE is not easy to watch, but it’s well done for what it is. I would suppose it will show up in Montclair. The kids were typically enraptured yesterday and earlier in the week, thank you. Have a great week my friend!
I’ve also been tuning in on the Olympic competition. As it is too early to see how the chips will ultimately fall I think we can see a pattern emergy anyway. Few would have expected Phelps to do as well this time around for one. Kudos to Ms. Vollmer.
Peter—
I hope to watch some events tonight in fact. Agreed on Phelps, and in celebrating Vollner’s exploits. It is rather early, even if certain patterns are beginning to take shape. Thanks as always my friend. Have a great week!
Congratulations, Sam, on your anniversary and many many more to come! And what a choice of film to celebrate with – Killer Joe! Thanks for the mention again. That last screenshot is awesome. It’s rare that one image can make you want to see the film and to know the whole story behind it.
I, of course, have been watching the Olympics with special interest. Its coverage here has taken over everything. I’m still trying to get tickets at this late stage having failed in the original ballots. At the very least I will be going to London to sample the atmosphere around the events.
Thanks so much for those very kind words Stephen!!!! But yes, a bizarre choice of a film, but we wanted to break from the Universal festival, and I always respected Friedkin. The screen cap of ALL THAT HEAVEN ALLOWS is indeed one that is unforgettable. I’d certainly be curious to know what you’d think of this film. Great to take full advantage of the Olympics in your back yard, it’s a moment frozen in time, one you’ll remember for the rest of your life. If you do take in some of the London events, I hope you’ll get a chance to discuss it at CHECKING ON MY SAUSAGES, my friend. Have a memorable week!
2 days at the ocean and I am having trouble connecting so think that means I should just enjoy the ocean and celebrate 35 years of marriage on our return honeymoon trip.
We did see a great film yesterday Tom Shadyac’s “I AM” ( he did Ace Ventura Pet Detective too) This is a documentary about his recovery from a coma….fascinating and lovely –
Patricia—
Congratulations on the 35 years of marriage!!!! And enjoy the sensory moments at the ocean! I have not seen I AM to this point but will investigate now. It sounds great. Thanks for stopping in as always my friend. Have a great week!
Sam, that’s some choice of an anniversary picture but it’s cool to keep up with the times. I have the DVD of Man Who Laughs and my feeling is that the “horror film” aspect of it is apparent only in retrospect. Horror wasn’t really fully formed as a genre yet, though Universal was the laboratory par excellence. Leni’s film is more like Chaney’s Hunchback than Cat and the Canary or the talkie horrors to come, though it’s a better film than Hunchback by a wide margin. I’m looking forward to getting Veidt in Fejos’s Last Performance on the Criterion Lonesome disc next month to see another step in the studio’s genre evolution — at which point I should note that Barnes & Noble’s timing stinks this summer, since the Fejos set and the Norman Mailer Eclipse box come out after the Criterion sale is over. Bah!
Since you stopped by (thanks for the link) I’ve put up reviews of Antonioni’s I Vinti and Milestone’s Pork Chop Hill. Over the weekend I also saw Richard Wilson’s Pay or Die, pitting Ernest Borgnine against the Black Hand in a way that exposes Ernie’s limits as a good-guy actor — it comes across like “Marty vs the Mafia” sometimes but has some good violent moments and okay art direction; Bergman’s Sawdust & Tinsel, an engaging piece of artsy sleaze with which Robert Osborne invited comparisons to La Strada while I was reminded for some reason of Floating Weeds instead; Robert Minton’s Outward Bound, a pretentious fantasy with stagy performances and cinematography by Hal Mohr that’d be more impressive were the film in better shape; Alan Crosland’s Case of the Howling Dog, the first Perry Mason film and with Warren William starring neither Mason’s client nor his methods are as spotless as usual; and Archie Mayo’s Illicit, a Pre-Code Stanwyck vehicle that wants to eat its cake and have it too as far as the lead couple’s open relationship is concerned. Not a bad tally for a week, and yours was pretty good as well.
Samuel—
Yes, I’ll admit that the anniversary film choice was most bizarre, and that’s an understatement. But as I offered up in defense with some others here, it was directed by William Friedkin, and some solid actors are featured. Further it was a “break” from the Universal Festival that was attended all week, though I would agree that WUTHERING HEIGHTS or SOMEWHERE IN TIME would have been a bit more appropriate! Ha! I definitely buy your categorization of THE MAN WHO LAUGHS, concurring that horror wasn’t a genre at that point. But even if it were, the romantic aspect of the film is overwhelming, much as it is in A PHANTOM OF THE OPERA and in HUNCHBACK. Above everything else, THE MAN WHO LAUGH’s allure is romantic. But yes, it is absolutely better than HUNCHBACK by a wide margin. I am also looking ahead to that Criterion release with the extra film, but luckily will be getting an advanced screening of LONESOME this coming Monday night at the Film Forum (the day the comedy countdown commences here at WitD). I agree it’s unfortunate the sale didn’t extend further, but we know there will be another in November, and it did extend far enough to take in the Jean Gremellion Eclipse set during the three-week run. In the case of LONESOME (and Allan has said the same thing) I won’t be able to wait till November for that particular title.
I’m definitely interested in your reviews of Antonioni’s I VINTI and PORK CHOP HILL and will be be over there very soon! I know PAY OR DIE well, have seen it and own the Warner Archives DVD. It’s entertainment value is more worthwhile than it’s artistry, but your framing is fair enough. The “artsy sleaze” comes close to the estimation Pauline Kael hoisted upon SAWDUST AND TINSEL, but for me (and for the nefarious John Simon who in his seminal volume INGMAR BERGMAN DIRECTS calls it one of Bergman’s four greatest films) it’s one of the director’s masterpieces. Osbourne’s LA STRADA comparison is interesting though. Wow, both you and John Greco saw ILLICIT this week, with John reviewing it. Agreed on OUTWARD BOUND completely and haven’t seen CASE OF THE HOWLING DOG, though I am a lifelong Perry Mason junkie. Great tally indeed my friend! As always! Have a great week and many thanks!
Should clarify that I liked Sawdust very much but still haven’t seen enough Bergmans to rank them meaningfully. I doubt whether Bergman and Ozu were noticing each other during the Fifties but the whole angle of the performer dropping in on his old flame is an archetypal coincidence that’d make Sawdust and Floating Weeds a neat double-bill. As for the Criterion sale the fault’s probably with them rather than B&N — they would schedule their most interesting releases of the summer (to me) after the fact!
Following the MMD and its subsequent comments has been part of my schedule for quite a while so I feel that it is time I escaped the shadows and started contributing. I am a teacher from Birmingham, UK who is currently enjoying the summer break and the time it affords for reading, writing and film viewing but I will try and contribute to the diary on a weekly basis even when I am not so blessed with plentiful leisure time.
Through your regular postings here it has been very evident how much your family means to you Sam and so please accept many congratulations from this stranger on your wedding anniversary. I will hopefully be seeing KILLER JOE at the local art house cinema this week, and look forward to seeing the apparently overlooked romantic side that makes it ideal viewing for a wedding anniversary. I envy your experience of seeing the classic Universal Horrors on the big screen; I intend to have a retrospective of those in a year or two’s time but they will be confined to home viewing. You are in for more treats as THE WIRE works its hooks into you – I wonder if you will reach the point that I did last year when I found myself watching many episodes back-to-back. Truly an encompassing viewing experience.
I averaged a film-a-day over the past week:
THE REVENGE OF FRANKENSTEIN & DRACULA PRINCE OF DARKNESS met my Hammer quotient for the month of July; I am working my way through the Hammer horrors at an average of two per month, currently focusing upon the Frankenstein and Dracula series. Whilst I did not find REVENGE to be as tautly thrilling as CURSE OF FRANKENSTEIN I appreciated the slightly more humane characterisation of Frankenstein this time around, with this take along with the more tragic story of the monster distinguishing it from the first in the series. Cushing’s screen charisma is once again in abundance, making this into a fine sequel. Whilst Cushing’s absence in DARKNESS was sorely felt, especially after the thrilling opening which recounted the finale of HORROR OF DRACULA, I found this to be a fine sequel in its own right and the resurrection scene will stay in my memory for some time to come. That it is my third favourite of the series so far speaks more to my enjoyment of the other two features which benefitted from Cushing’s presence.
I saw THE DARK KNIGHT RISES at the AMC cinema here in Birmingham and it is rather fitting that this followed DRACULA PRINCE OF DARKNESS in my viewing schedule given that both films share a key plot feature which I will not share here for fear of spoiling. This was a fulfilling end to Nolan’s trilogy with Anne Hathaway genuinely surprising me as Kyle. My biggest criticism is perhaps that the film attempts rather too much thematically, with its points being made in gangland hit-and-run style as opposed to being given any time or consideration that could lend itself to pathos. That said, I would much prefer a film attempts to be about too much rather than too little. RISES was an enjoyable counter to AVENGERS and I quite possibly will view it again in IMAX.
I am working my way through both Witd’s and Goodfella’s Noir countdowns at a rate of two or more per month, concentrating on the films I have either never seen or have not seen since early childhood. This month I viewed DETOUR and THE NARROW MARGIN. I wish I could state I got as much out of DETOUR as the posters in both threads however I felt it dragged and it was a strain to follow such a shambolic lead character. For me a much more interesting film would have followed the same story from the perspective of the Ann Savage character. I realise I reside on the periphery of everyone else on this one and I am hoping a revisit in future years will reveal to me the magic everyone else sees. MARGIN, on the other hand, I loved although I feel it escapes its noir roots early in its runtime. Marie Windsor practically burns off the screen making a later plot development all the more unforgiveable. I had this one on whilst I was catching up with my accounts and needless to say the paperwork got left behind as I gripped the edge of the sofa.
Rounding the week off were two Errol Morris documentaries, THE THIN BLUE LINE and GATES OF HEAVEN. As I was not familiar with the case it presented, the injustice depicted in LINE gradually built and built until the film’s startling conclusion rendered a much deeper and despairing consideration of everything I had seen and heard. What I had considered to be a story being recounted in place of the truth by one individual instead felt more like the a person recalling the truth as if it were a story he does not expect anyone to believe, himself having become long distanced from the reality of his past so that it instead it is a movie someone else lived. I suspect GATES can be viewed in many ways and I can certainly understand why repeat viewings have elevated it to being one of Roger Ebert’s top ten films of all time; what I take away from it one day later is that how we treat others, both homo sapien and otherwise, can often reveal the very best of ourselves.
Finally I want to mention two podcasts I listened to this week – the first two episodes of Peter Labuza’s “The Cinephiliacs” which can be found at http://www.thecinephiliacs.net/ . I very much appreciated the insight and background revealed in the lengthy interviews of Glenn Kenny and Matt Zoller Seitz, along with their ruminations on BLOW UP and BORN ON THE FOURTH OF JULY, respectively. I am very much looking forward to future podcasts.
In future postings I will work on the art of brevity.
David—
I extend to you the red carpet, and thank you for all your kind regards. I am truly flattered that you have been lurking for a while, and thrilled that you have decided to enter a submission. And what a submission it is my friend!!! Having a fellow teacher join in is quite a special treat as well. You teach in Birmingham, which is about 150 miles from where Allan resides in Kendal. Yes this is the time to read, watch films and write, though it’s all so fleeting. I can’t thank you enough for the very kind words for Lucille and I, and our family. I wonder if by exposing our kids to so many movies in theatres, we might be contributing to a fanatical regard of the form. Ah, it’s moderation that needs to be applied, but I must learn the term first myself. Ha! My 15 year-old son Sammy has been the prime attendee, and he’s really gotten an education of sorts. hahahaha!! love what you say about the “overlooked romantic side” of KILLER JOE!!!! Well, as I stated to Laurie earlier, this is not any kind of an uplifting film, much as HENRY: PORTRAIT OF A SERIAL KILLER and FUNNY GAMES were not, but Friedkin’s craftsmanship and performers made for a chilling examination of losers and sociopaths in an all-too believable setting. I’d say the strong strain of humor works to mitigate the revulsion. I’d certainly be curious to know what you think.
I’m excited to hear you will be doing an at-home retrospective on the Universal horrors, and that you are a big fan of THE WIRE. I will definitely resume some watching tomorrow, and figure to complete the first season this week. But I know I have a long way to go–but it’s heartening to know there will be a hook soon enough. I am also a lifelong Hammer fan and appreciate the superlative analysis of these two films seen as part of your ongoing two-a-month at-home festival. THE CURSE OF FRANKENSTEIN does for me as well rate ahead of them, but I think you are pretty dead-on. Any Hammer with Cushing -agreed- is one step ahead. He was one of a kind. A blu-ray release for CURSE in the UK was just announced. Interesting what you say there about the humane element more pronounced in REVENGE.
Thanks for providing the readers with such a cogent and intelligent consideration of THE DARK KNIGHT RISES. The ‘too much’ vs. ‘two little’ argument in terms of creativity posed is a persuasive one. I must say I completely agree on Hathaway. Michael Caine was another supporting player who (typically) did a fine job, and the wink at the Italian cafe is sure to delight even the cynics.
I like DETOUR too, but I completely understand what you are saying here about a different view if the film were told from the perspective of Ann Savage. We are in full agreement on THE NARROW MARGIN though.
I like GATES OF HEAVEN for sure, though I was always mystified at Ebert for that extravagant placement; THE THIN BLUE LINE is a documentary masterpiece, one you frame brilliantly there in examining perspective.
Finally I do know Kenny and Zoller Seitz’s work, and will be checking out that podcast! Again I thank you David for this remarkable first submission, and your much valued friendship. This entire comment is brilliance incarnate. Have a great week my friend! Many thanks!
Thank you Sam for such a generous welcome and your comments on my post; your always positive and warm responses to everyone is one of the main reasons – beyond the level of criticism on offer! – why I have continued reading WitD for such a long period of time as the level of kindness you show sadly often seems to be missing in the world of film blogs. You are quite clearly a class act.
I think by introducing your children to so many films in the cinema you are providing them with a wonderful education of images, emotions and themes and making them consider how they view the world around them as they grow. I will admit to being biased, as not only am I a devotee of film but I have been since growing up with a mother who loved film and shared that love with me.
I sadly did not see KILLER JOE before it disappeared from the screens around here so will now wait until a DVD release. I will save it for an evening when I am feeling especially romantic!
On Ebert and GATES OF HEAVEN, I note that it did not place in his #1 spot for the year it was released so I deduce that it is a film that has revealed ever-more to him on subsequent viewings. Perhaps it is now to the point where what is on the screen is not as important as the depths and meanings Ebert places onto it.
Thank you again and have a great weekend – hoping for sun!
Thanks again David!!!
Yes, Ebert has a long history of re-assessment to the point even that he has changed his year-end list several times within the same week, and made the alterations public. I have no issue with that myself as I’ve changed my mind more times than I can remember. But very good point there about GATES OF HEAVEN. Thanks again for the very kinds comments about the filmic education of the kids!!
I echo Sam in giving you a welcome to Wonders in the Dark – I think you’ll find it’s among the finest movie sites/blogs/forums online. I am just responding because I saw you mention the Goodfella’s noir countdown and since I ran that countdown, it made me happy to know that some folks are still looking at it and appreciating it. It was a blast to do the countdown, so it was nice to see some folks still reading it even though I haven’t been blogging for a couple years now.
Again, welcome to WitD
Thank you for the warm welcome Dave and I certainly agree with your comments about WitD – it has been one of my regular reads for a substantial time now and I do not anticipate that changing!
I think a good film list provides the basis for a starting point on film viewing (I do not get bogged down with the order of rankings as differences in order of merit along with notable ommisions and inclusions offer much insight into the thoughts and tastes of the list compiler at that specific moment in time but are obviously by no means definite to anyone other than them at that moment!) and an even better list provides excellent commentary, analysis and (hopefully) resulting discussion. Your work at Goodfella’s definitely falls into that latter category and I want to personally thank you not only for giving me a direction for viewing but also for providing thoughtful and considered essays which provide extra insight upon reading after viewing.
Our words often can take on a life of their own after we have read them; I recently found an article written by a friend of mine which has helped my thinking on something I have been debating recently. That it was written in 1995 and yet still feels timely is not surprising as I often find resonance in writing much older than seventeen years!
Enjoy your weekend!
Thanks a lot Sam for the mention. Wow, you truly had a spectacular week in terms of movie viewing – you sure are back to your inimitable best. And, mention about the impending “Indian summer” was ironic and made me chuckle – I sure know what Indian summer feels like, and can very well understand what you mean. Interestingly though, the city I’m staying at is providing me with the kind of weather that is anything but what is understood by “Indian summer”🙂 So, well, I hope you experience the kind of Indian summer that I’m getting to experience.
Had a 2-day weekend after a long time, and spent most of the time lazing around. One of my college friends had come over, and we had some nice time catching up. Anyway, here’s what I’ve watched this past week:
– Andre De Toth’s interesting film noir Crime Wave, featuring a really good turn by Sterling Hayden
– Kenji Mizoguchi’s medieval era masterpiece Sansho the Bailiff
– Imamura’s gleefully brilliant black comedy The Pornographers
– Chabrol’s eerie Hitchcockian thriller Le Boucher (which I watched today evening)
By the way, I’d be really interested to know about your opinions about Imamura’s films (his body of work in general), and which of his movies you’ve liked/loved.
Shubhajit—
Thanks for framing that obsessive burst as “spectacular” but I have always appreciated your glowing regard and positive perspective right along my friend! I love your follow up there on “Indian summer!” Ha! But I understand you are not quite in that band of extreme heat or turbulence. Thank goodness for that! As far as having an “Indian summer” here it’s all speculative of course, though rarely do we get an August that’s cool even by comparison. Good to see you had some quality relaxation time. I know CRIME WAVE quite well and agree completely what you say there. Great work by Hayden, absolutely.
Then you mention a film that has been dearest to my heart since the very time I saw it, and the film of course that allowed for my meeting and becoming friends with Allan. SANSHO THE BAILIFF could well be the film I offer up when someone asks me what the greatest film of all-time is. Yes, I have intermittent romances with AU HAZARD BALTHAZAR, TOKYO STORY and CITY LIGHTS (and a few others) but I guess SANSHO is right up there at the top, even with company. Great to see you refer to it as a masterpiece too. As far as Imamura, I regard INSECT WOMAN highly (probably my favorite of his) but also rate THE PHOTOGRAPHERS, THE BALLAD OF NARAYAMA, PIGS AND BATTLESHIPS and INTENTIONS OF MURDER highly. I am not quite as fond of VENGEANCE IS MINE or THE EEL as some others are, but all things considered he’s a major director. Another I like well enough is BLACK RAIN.
Thanks as always my friend. Have a great week!
Well you know Sammy I had a busy week too going to the movies but let me say that people in Florida are still very upset with what happened with Batman and they have beefed up security in the theaters and my neighbor Marjorie said she is only going to go to matinees from now on because violence almost always happens either at night or early in the morning, when people are first getting to work so she’s going to stay away from those times and I don’t think anyone can blame her for it. In Hollywood they are worried they will have to make movies with less guns now, it might happen. The liberals will push them and they might get their way because look what happened with cigarettes? They used to have people smoke in movies all the time and now it doesn’t happen because they want to discourage smoking and now they will want to discourage shooting so I think they will not show as many guns. There are people who are suspicious that the hair guy with a Manchester Concept and was programmed by the government to get people against guns and they might be right Obama needs something to stand for because Romney has him beat on the economy and voters here aren’t as interested in foreign policies because they can’t see it. I saw a lot of good movies this week.
Raising Night- 3 1/2 stars I thought the actor who played Cain did an excellent job because he was believable that he could lead people and it made him a good person to pit against Batman and they had more characters and plots in this movie than in the last one and they shot it in New York which makes sense because that’s the biggest city so if you wanna make something look like the biggest city then that’s the city you should pick. On the computer they said Christopher Barnes visited the victims of the shooting and I’m glad because it’s the right thing to do and I know you have loved him since he was a little boy in the Empire Strikes Back.
Step on the Revolutionaries – 2 stars this movie had a lot of dancing and it was kind of like a musical which is good because they don’t make too many musicals anymore but then the clothes the girls wear did not leave enough to the imagination and the lead actors would use profanity and in front of me the whole time there were four Puerto Rican teenagers and they would hop up out of their seats and in my line of sight and yell and talk and when I asked them to be considerate of me and the other people in the theater they stopped for two minutes and then they started again and doing it worse.I was going to get the usher but my sciatica had been acting up so I just decided to not go see any more of these kinds of movies again.
Woman on the Beaches – 5 Stars Betty Wilson gave a great performance in this movie which lifted your spirits because even though their was death there were two women who cared about each other and did things for each other as friends and it was nice to see. Have you seen this movie? When they filmed the ocean it made you say I wanna go near the ocean.
The Complex – 5 stars This was a good movie for Merlot Strope because she didn’t have to wear a costume or pretend to be a real person she could be more of herself and get to make comedy instead of playing a part where she has to make big decisions or get sick and I just thought it was really great I had always been hoping to see Jerry Martin and Alex Boulder in a movie together and even though most of the scenes they were seperated the scenes where all three of them were together were the best scenes in the movie. Did you see this movie?
At home I have been watching a lot of the Fox News channel and they were focused on the shooting but also on the economy and you know Romney has really moved up especially because he supports Israel all the way and that’s gonna hit Obama hard because the liberal Jews were the people who gave his campaign the most money the last time and if he loses those people where will he make up that money? A lot of people are out of work and they can’t afford to donate. When Romney announces his vice president candidate that will also give him a big boost. I saw a few episodes of Police and the judge shows that were looking good and I watching opening ceremony of the Olympics in the common room in my building and they had red white and blue cupcakes but I didn’t eat any because it started too late and if I have sugar at that time it hits me like a bomb and I can’t sleep. Peace and Blessings.
Ah, Fox News, the blonde channel, the Playboy channel with clothes on.
Jack—
I’m afraid to say that violence is not exclusive to any particular time or place, so one can never let their guard down. But this horrifying tragedy is a permanent scar that will never be understood or accepted. While I respect Marjorie’s concern, I do on the other hand think that Hollywood won’t change their position as to gun battles in action films. It’s the gun control laws that must be reformed. And we can’t really equate smoking with shooting either. Ah Christian Bale eh? Yes I liked him quite a bit in EMPIRE OF THE SUN (Spielberg, not Lucas, ha!) and thought he visit to Colorado was a moving gesture. So you liked THE DARK KNIGHT RISES then? Five star ratings for WOMEN ON THE BEECHES and THE COMPLEX?? Wow!! Well as to Merlot Strope I agree she is one of the greats. Don’t be sure that Romney has the Jewish vote all sewed up. I sense Obama will still get a majority. But we’ll see how things move along.
Thanks for the fine capsules and political insights my friend. You are certainly observant in every sense! Have a great week!
Hi Sam,
Thanks for the fantastic mention my friend! Just heard the sad news about Chris Marker. Just watched La Jetee a week or so ago in fact. Ah well. May he RIP. Wow sounds like you had a super busy week of filmwatching. I would rank Imitation of Life and All That Heaven Allows more highly than you it appears, but I do know your fondness for Sirk no matter what. The Bride of Frankenstein is the best Frankenstein film IMO. Gotta love Elsa Lanchester in that one. Well the Olympics has cut down my filmwatching, as was the fact that we visited family in Chicago over a long weekend. I got to see my niece for her first birthday! Very fun! We also took the girls to their first Cubs game! We are Cubs fans so that was a treat. Very fun. Looks like Happy Anniversary for you! Congrats to you and Lucille!
My favorite film of the week was re-watching Daisies, which is a masterwork of the 1960’s. It looks beautiful in the new print and I only wish it was a stand-alone and in Bluray! How this film is not a stand alone DVD is beyond me! It’s one of the zaniest and most energetic films of all time. So inspired. One of my favorites.
I just picked up Davies’ The Deep Blue Sea and I’m really looking forward to seeing it. It seems right up my alley so I will have to report back next week on my verdict.
Well hope you have a great week Sam!!!
Jon—
Allan sent me an e mail earlier today about the news on Marker. He sure had great innings of course, but always sad to lose an artist of his caliber, and a great human being. I’m afraid I am behind the eight ball as far as his catalogue, but of course know LA JETEE and SANS SOLEIL and own the DVD. Jon, I adore Sirk, and HEAVEN is very close to five stars. WRITTEN ON THE WIND, which I will be seeing on Saturday is a five-star movie, and MAGNIFICENT OBSESSION, playing with it, pushes very close to five as well. In the case of IMITATION OF LIFE I believe the earlier version by Stahl is stronger, but Sirk wins with MAGNIFICENT OBSESSION. Agreed with you on BRIDE. I hope to get a glance at Wrigley Field myself in the future, great you got to the Cubs game and managed some Olympics viewing! DAISES is absolutely one of the greatest Czech New Wave films, couldn’t agree more.
I liked the Davies film quite a bit, and can’t wait for that hoped-to-be glowing verdict! Have a great week my friend, many thanks as always!
Thanks too for the very kind words Jon!
Sam –
CONGRATULATIONS and HAPPY 17th WEDDING ANNIVERSARY to you and Lucille! I’m so glad to you that you and yours will soon be out of state on a MUCH-DESERVED vacation. I hope you have a complete and total blast!
There’s no way, no how, I’m touching KILLER JOE with a 10-foot pole. But I’m certainly looking forward to the comedy poll!
Laurie—
I can’t blame you for staying away on KILLER JOE. As I explained to Stephen above, I have always respected 76 year-old director William Friedkin (THE EXORCIST, THE FRENCH CONNECTION) as I grew up during his most celebrated years, and I figured I’d stay the course with his latest work. But it is unquestionably disturbing if well-made, and it’s not a film I will ever visit again.
Thanks so much for the very kind words Laurie!!! I’ll certainly keep you abreast on the trip. Have a great week and stay cool!
Hello Sam-
Sounds like another great week of film viewing for you. ALL THAT HEAVEN ALLOWS is particularly ravishing on the big screen, as I recall from seeing it in college.
Tomorrow is moving day (at last!!!) and I’m scrambling to post this update before Comcast cuts off my internet service (scheduled to happen in the next hour or so.) I’ll then be offline till sometime on Wednesday. Didn’t see any movies this week, just packed boxes while Olympic coverage was playing in the background over the last couple of days. However, even moving did not deter me from a quick trip to the Barnes & Noble half-price Criterion/arthouse sale! Picked up TOKYO STORY, CERTIFIED COPY, BROADCAST NEWS and THE HOUSE OF MIRTH – some good stuff to watch when I am settled in at the new place.
Pat—
I really can’t thank you enough for this incredible gesture. Even at the juncture of internet banishment you still make an appearance at the Diary! So tomorrow is finally the day! Best wishes on a smooth relocation. I look forward to a report. As far as Barnes & Noble, well the sale ends in about three-and-a-half hours and I am still debating whether to make a final trip. Just told Allan in fact on an e mail. TOKYO STORY is one of my favorite films of all-time, and I do love HOUSE OF MIRTH and CERTIFIED COPY, and fully understand and respect why many think highly of BROADCAST NEWS. But yes, some great stuff to usher in the new abode. Thanks so much Pat, really appreciate it my friend! Good Luck to you and Marlon!
Hello Sam and everyone!!!!
Well, this week I come back to classes, so I’m having the last days to enjoy the liberty and all that. I just came back from the cinema and I’m looking forward to the work that we have this semester coming. It’s nice to hear that you will be moving for a vacation soon enough. Have a good time with your family!
Thanks a lot for featuring my 100 Days of Horror thing at my blog and for top-linking my piece for the Hammer film, it is greatly appreciated.
Of the films you’ve seen past week, I’ve seen a few, the Universal classics: The Bride of Frankenstein that I rate the same as you, The Black Cat that I rate ****, The Wolf Man that I’m not a rabid fan of, but I like quite enough, rating it ***1/2, The Invisible Man that I think it’s one of the best Universal horror films of all time, rating it ***** and The Mummy starring Karloff, that I rate ****.
As I told you through chat, I loved the Opening Ceremony of the Olympics, a class of cinematical spectacle done live and with a lot of craft and dedication, I don’t know what a brittish guy would feel watching it (Fish?), but I just loved every second of it.
My week movie wise:
– ‘Donnie Darko’ Production Diary (2004) ***1/2 A filmed diary of the shooting of my favorite film of all time. It is interesting to me because of that, but I don’t think there’s much here for anyone else really. There are some funny bits and then there are some interesting ones, when you get a glimpse of deleted dialogue and some scenes that didn’t make either cut. Just for fans, I guess.
– Audition (1999, Takashi Miike) ***** The last film I saw at the Asian Film Festival that was at a local theater, and this is just one of my favorites, I love the pace and the direction that Miike prints to the characters and the plot of the film, giving it at a certain point, a nightmarish look and one straight out of the diary of a mad man. It also features a great amount of amazing acting from the main characters and one story that still sends chills up my spine whenever those final minutes appear on screen. I love this movie.
– A Running Jump (2012, Mike Leigh) ***1/2 A short film made in the wake of the Olympics, quite funny and with some interesting scenes and acting, but most of the time it feels like filler and with not a real intent to tell a story, and that is frustrating when it finally ends. Still, it’s Leigh, so I think it’s worth a watch.
– The Beyond (1981, Lucio Fulci) ****1/2 I rewatched this film because I wanted to be dazzled and confused again. I love every frame, every violent frame of this film, so beautifully composed, and with such a cool soundtrack and nice visual effects that feel real and are scary. It’s a mood thing above all, the plot never makes any real sense, but who cares when there’s such a great mood being thrown at us every time we watch the screen. I’d love to watch more of this director, and I plan to very soon.
– Innerspace (1987, Joe Dante) **** A funny sci-fi film that starts wild and incredibly well acted, but ends messing around with some 80’s clichés, just going out as a good enough movie that was extremely well done for its time. Dante nails the tone of the film perfectly and crafts lovable characters with flaws and advantages, but above all, characters that feel real. It is until the cartoonish bad guys appear that the film is a perfectly made comedy with sci fi elements. Then, it all goes downhill, but the main characters remain great.
– The Penalty (1920, Wallace Worsley) ***1/2 This was the first film I reviewed in my 100 days of Horror, you can check out the review at my site guys.
– Savages (2012, Oliver Stone) *** A film that isn’t badly made and directed by a good director can go wrong if it goes the way of the simple decissions and the usual character-less and plaintude that fills the modern Hollywood produced fare. It could’ve been a great film, with hints here and there from the best that Stone can offer us, but it remains in an uninteresting visual level and with even less interesting main characters (whenever we got away from them, I truly enjoyed the film), so that is a shame, really.
– The Treasure of the Sierra Madre (1948, John Huston) ***** I rewatched this film because it was on TV and I wanted to have a great time. It is quintaessential and one of the best films ever, greatly acted, directed and with impressive cinematography. Sure is also a tale of greedyness and a cautionary tale in this age of ours. Great movie!
That’s all. Thanks Sam, have a great week!
Jaimie–
Looks like the time really flew by with the start of classes at hand. Our vacation will be a brief one (four and a half days including car travel) but it will give us a most welcome change of pace. I have several most interesting plans on the itinerary. I’ll definitely be visiting your latest posts on the 100 days of horror project at EXODUS: 8:2. It is astounding how much you manage to accomplish and in every direction possible! Great to hear you have been keeping up with the Olympics; I hope to see dome of the events over the coming days myself! I know you consider BRIDE and INVISIBLE MAN the top films in the Universal Festival, and I completely agree. I do like THE WOLF MAN and THE MUMMY a bit more than you. I liked INNERSPACE less, and completely agree with you on Stone’s SAVAGES. Great to see you have annointed THE TREASURE OF THE SIERRA MADRE a five-star rating though I remember from the 1948 voting that you are a huge fan. It is certainly one of the greatest of American films, and all the components you praise well deserve it. THE BEYOND is one of the two or three best Fulcis, though I find that director way over the top and pretty dire in a number of ways. I’d go lower, but fair enough you have others who completely agree with you there. I would love to see Leigh’s short Olympic film, and regard AUDITION highly, even if not quite five stars. But fair enough. I’ll definitely be checking out your review of THE PENALTY. Enjoy the time you have left before classes my friend, and thanks as always for the sensational wrap!
Thanks as always for your mention Sam.I am curious to see THE MAN WHO LAUGHS even if it might be scary. It seems we are deep into summer over here on the west coast. But I do have one movie to mention…
DAYS OF HEAVEN (1978) directed by Terrence Malick. I liked it more than David did but I am easy to please with beautifully cinematography and great storytelling. I found the depth and pace of the film refreshing and engaging. So much rested on more than words to bring the viewer into the film. I appreciated the strength of this aspect of the movie. The narration by Linda Manz was outstanding bringing a timelessness to the film through its specific placement in history.
Well this is all for this week and wishing warm summer fun Sam in the weeks ahead.
Terrill—
THE MAN WHO LAUGHS has a strain of Gothic-styled shudder, but it’s more of a PHANTOM-style romance, quite compelling at that! DAYS OF HEAVEN is a poetic film, as beautifully photographed as any ever made, and with a magnificent aural accompaniment in Ennio Morricone’s lyrical score. True absolutely when you say “So much rested on more than words” and the use of the narration. Yep, it is surely an unforgettable film, and one considered by many as an American masterpiece. Have a great week, and enjoy the lovely weather my friend! Many thanks as always!
Sam, thanks so much for the great mention.
You mentioned a few films this week that I’ve yet to see, namely THE MAN WHO LAUGHS and THE INVISIBLE MAN. I’ve already placed them in the queue and look forward to seeing them both soon.
This week I only caught one film, the doc NEW YORK DOLL. I found it a fairly moving account of this hugely influential band that never fully got its due. I have been really enjoying the Olympics though. They are probably the number one culprit this past week for cutting into my cinema time.
Here’s to another awesome week, Sam. Thanks so much for all that you do!