Saturday, August 31, 2024

Contagion


Too soon?

Steven Soderbergh makes consistently good films and "Contagion" is a solid example. Set up as a thriller we're offered a fast moving and realistic portrayal of a deadly global pandemic. Released in 2011, it accurately includes many of the challenges the world faced during the COVID-19 pandemic a decade later, both on a personal and a logistical level.

The film explores the chaos, fear, and desperation that ensues as governments, scientists, and ordinary citizens struggle to contain the outbreak. The ensemble cast, featuring Matt Damon, Kate Winslet, Marion Cotillard, Lawrence Fishburne and Jude Law deliver engaging performances, portraying various deferring roles in the unfolding crisis.

This is not a great character drama as the focus of the tale is the rapid development of a severe pandemic. It has the "just the facts" feel of a documentary that includes dramatizations. Perhaps the film's primary strength in fact, is its accuracy. Soderbergh consulted with epidemiologists and other experts to ensure that the portrayal of the virus and its spread was realistic. This attention to detail make the film pretty close to home. "Contagion" has a lot of ground to cover, and it does, including personal trauma, the science, media and misinformation, government reaction and even issues of international relations.

"Contagion" is also interesting for a few things it leaves out. We all unfortunately know so much more about this sort of thing now than we did in 2011.

Thursday, August 29, 2024

Persona


What happens when an actor's role in a film is that of an actor that suddenly because self-aware of their acting? She stops acting.

Elisabeth Vogler, a renowned stage actress, suddenly falls silent during a performance. Frustrating doctors by definitely not being insane, she is diagnosed with a psychosomatic illness, and sent to a secluded beach house to recuperate. She is accompanied by Anna, a young nurse who becomes her caretaker. As the two women spend time together, a strange and intense bond develops, leading to a psychological and emotional interplay that challenges their individual identities.

The relationship between Elisabeth and Anna is further a metaphor for the filmmaker and the audience. Elisabeth represents the enigmatic and inaccessible artist, while Anna represents the curious and receptive spectator. The film is further very much aware of its nature as a film. It does not ask for suspension of disbelief, rather it insists on being taken literally - as a film. "Persona" breaks the fourth wall, directly addressing the audience or acknowledging the artificiality of the cinematic experience. In the film's final brief shot of Elisabeth we can actually see the camera. This all serves to emphasize the constructed nature of reality and the illusion of the screen - literally through a broken film at the opening.

It's our own fault. "Persona" insists the audience become participants in the cinematic experience, rather than passive consumers. And we're all bozos on this bus.

Sunday, August 25, 2024

The Zone of Interest


Part historical drama, part horror, this film centers on the home and professional life of Rudolf Höss, the commandant of the Auschwitz concentration camp, and his family.

"Zone of Interest" is mostly set in a residential area adjacent to the camp. Höss and his wife, Hedwig, are proud of the home and gardens, and the "normal" life they have built directly adjacent to the site perhaps most iconic of the horrors of the Holocaust. Höss's job is also presented as that of a bureaucrat, days filled with detailed efficiency reports, construction schedules and budgets. The film sharply contrasts this ordinary life, and idyllic home, with the atrocities the viewer knows are being committed just on the other side of a wall in their backyard.

The film uses long, contemplative shots and minimal dialogue to create an uncanny sense of unease and tension. The sound design is outstanding. The sounds coming from the other side of the camp's walls, gunshots, screams, machinery, the trains, and, yes, the furnaces, are a constant background theme, day and night, to the mundane home life of the family. 

"The Zone of Interest" is a remarkable and disturbing film, without a single direct image or scene of the operation of Auschwitz.

Saturday, August 17, 2024

Manhattan

 
For those that are sure the artist can always be separated from the work, there's the 1979 film "Manhattan". 

The film is about insecurities, petty relationship issues, pretentious intellectualism, imposter syndrome and on-brand smart people making poor decisions for dumb reasons. It's also a love letter to New York City; it's skyline, it's parks, it's arts and it's cultural.

The elephant in the room is a 42 year old man dating a 17 year old high school student. And all his friends seem to think nothing of it. It's a bit on nose... And even more so for the fact that in this film, even more than his others, Woody Allen is effectively playing himself. In fact, from the setting to the music to the various film references, "Manhattan" teeters on autobiographical.

That said, "Manhattan" is an incredibly well made film. It successfully blends humor, drama, an exploration of relationships and urban life. The black and white cinematography is stunning, capturing the iconic cityscape with frenetic energy and a poetic sensibility. The film achieves a timeless quality, emphasizing the intended classic and romantic feel of the story. 

Woody Allen delivers a captivating performance as the flawed and neurotic Isaac. His portrayal is both humorous and poignant, making the character both relatable and frustrating. Diane Keaton shines as Mary, bringing intelligence, wit, and a touch of vulnerability to the role. Mariel Hemingway's portrayal of the young and idealistic Tracy is equally impressive.

There's complex characters, witty dialogue, laughs, jazz and stunning visuals enough to create a lasting impression. At the end of the day though Woody Allen's character maybe as unlikable as Woody Allen. Then again, ironically, this is part of the point of the character after all.

In the final scene, Tracey says "Not everybody gets corrupted. You can have a little faith in people." I guess that's for the viewer to decide. Cut to black. Roll credit.

Vera Cruz


"Vera Cruz" is a seminal Western that stands out for its gritty realism and complex characters, foreshadowing later, more morally ambiguous Spaghetti Westerns. Released in 1954, it stars Gary Cooper and Burt Lancaster as two mercenaries who find themselves entangled in the Mexican Revolution. Lancaster doesn't stop grinning, Cooper doesn't stop scowling.

This film is a departure from the traditional cowboy epics of the time. Shot in stunning Technicolor, it immerses the viewer in the dusty, sunbaked landscapes of Mexico. The story's characters are far from heroic. Cooper's stoic Benjamin Trane and Lancaster's charismatic but ruthless Joe Erin are complex anti-heroes out for themselves. "Vera Cruz" is often credited with introducing a darker, more realistic tone to the Western genre, paving the way for films like the classics of of Sergio Leone as well as "The Wild Bunch", "Once Upon a Time in the West" and many others. 

Gary Cooper and Burt Lancaster deliver powerhouse performances, their contrasting characters creating a compelling dynamic. In the supporting cast we have Cesar Romero, Ernest Borgnine and Charles Bronson to name a few. I have long heard this movie was good, but my expectations were exceeded. 

"I don't trust him. He likes people, and you can never count on a man like that"

Tuesday, August 13, 2024

Slaughterhouse-Five


Kurt Vonnegut joined the army in 1943 and was eventually deployed to Europe. He was captured by the Germans during the Battle of the Bulge and was interned in Dresden, where he survived the Allied bombing of the city in a meat locker of a slaughterhouse. 

Vonnegut dealt with depression his entire life. Much of his literary work reflects his efforts to interpret the arc of life through the lens of that depression. Imagine, for example, a man's entire life experience laid out in one moment of time. Imagine a man who could see his entire life, including his own death without the limitations of time passing from future to past. Would this life make any sense? What happens to the present when it becomes the past, and where does it go? Could an entirety of a life experienced as a whole, through its end, redeem the dread of the void and confront the existential impulse of "why?".

Kurt Vonnegut's novel "Slaughterhouse-Five" is a darkly comic exploration of war, trauma, the broad arc of life and the human condition. Through the lens of Billy Pilgrim, a seemingly ordinary man who becomes “unstuck in time,” the film includes experiences of childhood, the pivotal horror of the firebombing of Dresden, family life, and finally aging and death.

The film adaptation of "Slaughterhouse-Five" mirrors the novel's unconventional structure, jumping between different time periods and perspectives. The film captures the essence of Vonnegut's novel, including its surreal humor, unflinching portrayal of destruction, and absurdity of seeking value in the mundane elements of ordinary existence.

In spite of Michael Sacks's compelling performance as Billy Pilgrim, and the effective recreation of the devastation of Dresden "Slaughterhouse-Five" doesn't answer questions for either Vonnegut or the viewer. Maybe it's only a thought experiment that turns out to be fruitless. Or perhaps the absurd humor is the only important thing. Regardless, so it goes...

"I could carve a better man out of a banana."

Monday, August 12, 2024

Dog Day Afternoon


Sidney Lumet's "Dog Day Afternoon" is about possibly the most incompetent bank robbers ever. It's also masterclass film making, expertly blending crime drama, comedy, and social commentary into one gripping narrative. As unlikely as it seems, the story is based on a real-life New York bank robbery. Sonny Wortzik (a career-defining performance by Al Pacino) umtakes the crime in an attempt to raise money for... Well that would be giving it away...

What starts as a seemingly straightforward plan immediately spirals out of control and eventually into an awkward hostage situation, captivating the attention of the entire city.

What makes the film exceptional is its complex portrayal of characters. Sonny, while initially appearing as a desperate criminal, reveals layers of vulnerability and humanity. His accomplice, Sal (played brilliantly by the late John Cazale), is a sympathetic figure struggling to cope with the situation. The supporting cast, including Charles Durning as the level-headed police negotiator, delivers outstanding performances.

Sonny becomes a sort of folk hero as "Dog Day Afternoon" unfolds. The film reflects the societal mistrust of that time of police, and authority in general. Also, attitudes of sexuality and gender come into play, all in a context of the media's role in shaping public opinion. Lumet's direction is masterful, capturing the tension, the twists and turns, and immense absurdity of the situation.

"Dog Day Afternoon" leaves a lasting impression, highly recommend.

Sunday, August 11, 2024

Stranger Than Paradise


The Lost Weekend


"The Lost Weekend" is a stark and disturbing portrayal of alcoholism from 1945. The film follows writer Don Birnam (brilliantly played by Ray Milland in an Oscar-winning performance) as he navigates a four-day bender. 

What sets *The Lost Weekend* apart is its unflinching realism in it's portrayal of the physical and psychological degradation of alcoholism. It presents a character study that is both sympathetic and terrifying. Milland’s performance is nothing short of mesmerizing, and this can't be overstated, as he captures the desperation, paranoia, and self-loathing of a man trapped in addiction.

Wilder’s direction is masterful, using many cinematic techniques to immerse the viewer in Birnam’s distorted reality. The film's psychological intensity is heightened by the use of shadows, distorted angles, and a haunting (is that a theremin?) score that would be at home in any period sci-fi or horror film. Anyway the monster isn't from outer space in this one.

The film's depiction of alcoholism is bleak, and that's the whole film. "The Lost Weekend" is a groundbreaking and unusual work, daring to tackle a taboo subject with raw honesty.

Saturday, August 10, 2024

Mosquito Squadron


"Mosquito Squadron" offers classic World War II action with a mix of aerial combat and ground-level personal drama. While it's not a cinematic masterpiece, it is a solid bit of entertainment.

The film follows a Royal Air Force squadron hard at work hitting v2 launch sites. Amidst the tension and camaraderie, the plot takes a turn when the squadron leader is presumed dead (or is he??), leaving his best friend to take command.

Tasked with a dangerous mission to bomb a secret German research facility, he also finds himself entangled with the prior leader's widow. 

The plot follows familiar war film tropes. The acting is adiquate, the writing is stagey. The first half of the film is a bit slow, focusing on character development and plot setup on the ground. The second half picks up the action. There's impressive aerial sequences, showcasing the Mosquito and other period aircraft. There's a mix of actual war footage, new film and model work.

While it may not be a critical ground breaker, it's a solid choice for fans of the genre with 90 minutes on their hands.

Source material for "Top Gun"...

Stranger Than Paradise


"You know, it's funny... you come to someplace new, an'... and everything looks just the same."

Jim Jarmusch's "Stranger Than Paradise" defies categorization. It's a road movie, a comedy, a character study, and a meditation on American life. The film follows a loosely connected trio: Willie, a deadpan New Yorker; Eddie, his equally apathetic sidekick; and Eva, Willie's young Hungarian cousin who arrives unexpectedly.

What follows is a meandering journey along the east coast and across our screen, marked by deadpan humor, oblique happenstance and long silences. Jarmusch’s signature style is on full display, with its minimalist dialogue, observational approach, and a deliberately awkward pacing that reflects the characters' detached outlook on life. There's so many great lines in this film...

"Stranger Than Paradise" rewards patience. Its charm lies in its subtle observations of human behavior and the mundane aspects of existence. The characters are ordinary people facing extraordinary boredom, and their interactions are often hilariously awkward. The film's black-and-white cinematography adds a timeless quality, emphasizing the stark beauty of the American landscape.

"Stranger Than Paradise" quickly developed a cult following, and it's influence can be seen in countless independent films that followed. Jarmusch's ability to create a world that is both familiar and utterly unique is a testament to his talent as a filmmaker.

I first saw "Stranger Than Paradise" when it was released. It was a sort ofthing I didn't know existed and it convincing me I could make movie - as it did many other people I'm sure. I didn't do much film making as it turned out, but this and a handful of other films from that time led to a lifetime interest in cinema.

Eddie: I don't know, Willie... Ah, the poor guy. God! You shouldn't have given him such a hard time. Can you imagine working in a factory?
Willie: No, I can't. Now I feel bad.

Deann said it was a film about nothing.

Friday, August 09, 2024

Comanche Station


In terms of cowboys and Indians stuff, if you can get past the cowboys and Indians stuff, this is one of the classics of the classic cowboys and Indians stuff. "Comanche Station" is a classic Western film that delivers plenty of thrills, set against the rugged backdrop of the American frontier, with cowboys and Indians. 

The plot is fairly standard, but the taut and understated script benefits immensely from Randolph Scott’s nuanced nice-guy gunslinger character. As the resolute Jefferson Cody, Scott crafts a believable, ordinary hero, a stark contrast to the larger-than-life archetypes prevalent in the genre. 

Cody rescues a white woman from Comanche captivity. A substantial reward is being offered for her return. As he escorts her back to civilization, their journey takes a perilous turn when they encounter a trio of ruthless bounty hunters, led by the menacing Claude Akins. Cody must protect the woman from both the Comanche, and the bounty hunters who are determined to claim the reward for themselves. 

Boetticher's signature restrained style adds depth to the story, allowing the tension to simmer rather than boil over. There's great dialog in every scene, horseback action, gunfights and of course terrific scenery. A standout feature of "Comanche Station" is its unconventional ending. That and the strength of the storytelling and the performances keep "Comanche Station" engaging even for modern viewers.

Frank: You want to go to work, do you?
Dobie: Work?
Frank: Making an honest living?
Dobie: Oh, no, I don't think I could do that. I could cowboy some.

The Roaring Twenties


"The Roaring Twenties" is an epic gangster film spanning WW1 through the Prohibition era. Starring a powerhouse trio of James Cagney, Humphrey Bogart, and Jeffrey Lynn, the film is a gritty portrayal of friendship, love, ambition, money and corrupting influences.

Cagney delivers a tour-de-force performance as the volatile Eddie Bartlett, showcasing his signature energy and intensity. Bogart, in a supporting role, shines as the cynical George Hally, providing a cool, but violent, counterpoint to Cagney's character.

The film immerses viewers in the gritty world of speakeasies, bootlegging, and gang violence. The dialogue, cinematography and production design acutely capture the era's style and energy. Much of the plot is familiar gangster territory, but the film's long view focus on the complex relationships between the characters and the sweeping story arc add depth and emotional resonance. Friendship, betrayal, and the American Dream in the face of hardship... Never trust anyone, your friends least of of all.

"There's ten thousand shell holes around here and everybody's gotta' come divin' into this one."

Fair Wind to Java


"Fair Wind to Java" is a seafaring adventure set in the Dutch East Indies. It follows Captain Boll, a determined sea captain played by none other than Fred MacMurray, who is on a mission to find a lost treasure of diamonds. 

The film is filled with swashbuckling action, exotic locales, and a touch of romance. As Boll's journey unfolds, he encounters treacherous pirates, a mysterious, and frankly rather odd, kidnapped woman named Kim Kim (the mysterious, and frankly rather odd Vera Ralston), and the looming threat of volcanic eruption. 

As this sort of film goes, this one isn't bad. The story mostly makes scene and doesn't feel like everything popular tossed into a blender, or simply made up on the spot as so many of these B adventures do. The acting however is true to the form (decidedly so-so), and the locations and locals are a weird mix of vaguely Arabian and vaguely Asian (or as Hollywood at that time would say, Oriental). It isn't at all realistic in anyway, but the primitive practical effects are fun, particularly the depiction of the volcanic eruption of Krakatoa. Fred MacMurray gets into an extended and not half bad fight scene (with his shirt off no less).

Thursday, August 08, 2024

Sweet Smell of Success


"Maybe I left my sense of humor in my other suit."

"Sweet Smell of Success" is a classic offering a scathing critique of the cutthroat world of show business and journalism. Set in the gritty underbelly of New York City, the film paints a portrait of moral decay and the lengths people will go to for fame and influence, and frankly just to hurt people.

J.J. Hunsecker (Burt Lancaster ) is a powerful show biz columnist with the ability to make or break careers. He's a manipulative, amoral and cynical figure who uses his influence to control the lives of others.

Sidney Falco (Tony Curtis) is an ambitious press agent desperate to climb the social ladder. He becomes entangled in Hunsecker's web of manipulation, willing to do anything to gain the columnist's favor.

Burt Lancaster is underappreciated today. He spent the rising star portion of his career do typical leading man work. Later he leveraged his fame to do more interesting, edgy roles in films that tended toward art house rather than box office. Lancaster's later filmography is populated with sociopaths salted with criminality, desperation, petty cruelty and general madness. He seems like an actor that would have been more at home in today's films than those of the 1950s. "Sweet Smell of Success" sets up the Hunsecker character extremely well. We hate him long before he appears on scene, and when he does, Lancaster does not disappoint.

Tony Curtis on the other hand, was always the archetypal handsome leading man. He was well known and loved by the time "Sweet Smell of Success" came out, but he had been doing mostly good natured comedy and conventional drama. "Sweet Smell of Success" showcases his range as an ethically fluid man driven by raw ambition. Viewers definitely saw an unfamiliar side to both leading actors in this film.

The sharp and rapid fire dialogue is the star of "Sweet Smell of Success". The writing is outstanding. What I wouldn't give to be able to talk like that... The hip, jazzy soundtrack further informs the atmosphere. The actual story is remarkably simple. It's the actors', cinematography and overall tone that carry the show.

* A cynical view of the entertainment industry
* Morally flawed characters
* Corrupt police
* Witty banter
* Dark and gritty

"You're dead, son. Get yourself buried."

Wednesday, August 07, 2024

Lone Star


"This stretch of road runs between nowhere and not much else."

History is a stretch of road. From where you are in the road, the past is whatever we all look back and choose to see, and "Lone Star" is about history and whose narratives are privileged. The film demonstrates revisionism in history, of the American West particularly, that is often written by the "winners", shaped to fit their own interests. The white settlers, Mexicans, African Americans and native Americans all come to this point in the road in South Texas, with their own experiences.

"Lone Star" presents this nuanced idea of history in the personal lives of the characters in the film. Their stories are interpreted differently depending on each one's identity and lived experience. New information surfacing brings into question long held truths and decisions must be made.

"Lone Star" is a neo-western set in a small Texas border town where there's a revelation under every rock, and people like the rocks where they are. Sheriff Sam Deeds, who the town sees as a lesser version of his revered father, Buddy Deeds, the former sheriff. The story begins when a skeleton is discovered in the desert. As Sam delves deeper into the investigation, he uncovers a web of secrets, lies, and racial tensions that have plagued the town for generations. The result is a story about generations of family, redemption, and the search for truth in a place where the lines between hero and villain, victim and oppressor, are blurred. 

By weaving together a captivating mystery with an array complex characters, "Lone Star" invites us to critically examine the stories we're told about the past and consider whose voices are often left out of the narrative, as well as things that have gone unsaid completely. And how in some cases, it may be for the best.

"Start digging holes in this county, no telling what'll come up."

McCabe & Mrs. Miller


"McCabe & Mrs. Miller" discards traditional Western tropes and paints a bleak and realistic picture of the American frontier, removed from the heroic myths of classic Western films. The story follows John McCabe (Warren Beatty), a small-time gambler who arrives in a remote mining town in the forecast of the Pacific Northwest, and decides to buy up land and open a brothel. He forms a partnership with the also newly arrived Constance Miller (Julie Christie), a savvy madam who brings business experience to their venture. 

What sets this film apart is its atmosphere. The isolated, and very wet, setting of the barest beginnings of a town, coupled with the characters' flawed and morally ambiguous nature, creates an opportunistic world that is gritty and dangerous. The film is also known for its innovative soundtrack, all Leonard Cohen, which adds a haunting quality to the narrative. 

Altman's signature overlapping dialogue and focus on character interaction bring the supporting roles and various townspeople to life. They feel like real people caught up in the harsh realities of frontier existence. The secondary characters in "McCabe & Mrs. Miller" are written with a level of authenticity and complexity rarely seen in Westerns. Their presence reinforces its anti-heroic tone.

Rather than focusing on shootouts and heroic deeds, "McCabe & Mrs. Miller" embraces the greed, ambition, disorder of life, and death, on the old frontier. It offers complex and nuanced portrait of the American West - a pretty dismal place indeed.

Monday, August 05, 2024

Kundun


"Kundun" is a Martin Scorsese epic chronicling the life of the 14th Dalai Lama through his formative years. The film begins with the young Dalai Lama's recognition, his rigorous training in Buddhist philosophy and Tibetan culture, and his eventual ascension. "Kundun" also vividly depicts the Chinese invasion of Tibet, the Dalai Lama's struggles to protect his country and culture, and his eventual exile.

The film presents stunning visuals, evocative score (Phillip Glass), and sensitive portrayal of the Dalai Lama's complex life. It provides an evocative look at the intersection of spirituality, politics, and human resilience.

As a film, this work borders on meditative. The actual narrative is rather subdued. "Kundun" seem more about creating a conversational space than it is about story telling. And you don't have to be a Buddhist to come away from this film with admiration and respect for the Dalai Lama and the spiritual traditions of Tibet.

Sunday, August 04, 2024

Love Lies Bleeding


"Love Lies Bleeding" is a neo-noir, and a dark and intense love story. The film follows Lou (Kristen Stewart), a reclusive gym manager with a troubled past and problems of her own. She becomes infatuated with Jackie (Katy O'Brian), an ambitious bodybuilder just passing through on her way to Las Vegas. Their passionate relationship quickly escalates and they soon become entangled in escalating violence and life threatening danger. Ed Harris as Lou Sr., owner of the gym, and one of the creepier characters I've seen in a while.

The setting is the typical small town where everyone knows everyone and there's secrets buried everywhere. Closets are filled to bursting with skeletons. Things are barely holding together. The arrival of the mysterious new girl in town, Jackie, serves as a catalyst for the lids blowing off everything in sight. Interestingly, we never learn much about Jackie, and even to Lou Jackie is a relative unknown all through the film. Their relationship is the supreme priority for Lou though, even when bodies start to pile up. 

I have read criticism of the film stemming from the lack of background and thus connection for the characters. Perhaps it works for some viewers, and perhaps not, but it seems a deliberate choice. The normally anti -social Lou falls for Jackie hard almost immediately, in spite of obvious warning signs. She remains undeterred, even as Jackie is revealed to have her own issues.

Both Lou and Jackie are flawed and complex individuals, making their relationship both compelling and occasionally disturbing. The tale is a provocative exploration of love, obsession and consequences (and bleeding), with a few twists in the second half as things really spiral.

The movie is also quite well made, just in general. It creates a palpable sense of tension and unease through its dark visuals and gripping score. The cinematography and sound design are both excellent. There's Hitchcockian macguffins and other fun tricks film fans will recognize that I think play well into the world of this movie, without seeming gimmicky. The film also doesn't shy away from violence, reflecting the dangerous world its characters inhabit. Although it's a better film I think, it's hard not to be reminded of "Blood Simple".

Saturday, August 03, 2024

Ned Kelly


"Ned Kelly" is a Australian historical drama starring, oddly enough, Mick Jagger with a beard. The film delves into the life of anti-hero folk legend Ned Kelly, from his humble beginnings to his rise to rebellious leader and ultimately, his tragic downfall. It's a gritty and stylized portrayal, not so much historically accurate, of Kelly's journey from a young man to a legend. His actions, while criminal, resonate with the audience due to the socially oppressive environment he lives in. 

A central theme is the clash between the Kellys and the local establishment plus the corrupt police. The film highlights the power imbalances and the mistreatment of the working classes (Irish). Ned Kelly is pushed into a life of crime due to constant police harassment and the wrongful imprisonment of his mother. Alongside his loyal gang, he becomes a symbol of rebellion against the oppressive authorities. The film culminates in a dramatic showdown between Kelly and the police. There's a lot of period history and culture in this film.

"Ned Kelly" reflects '70s cinematic trends in spades. There's subdued editing effects, and a fair amount of folk music used as a sort of narration to advance the story. The film also captures the stark beauty of the Australian outback, providing a striking backdrop to the somewhat grim tale. There's pacing issues throughout.

Jagger's performance is a mixed bag. He's not a great actor. But he does bring a certain raw energy and charisma to the role that after watching the entire film, I think somehow works. Almost, or perhaps to an extent. I can see where they were going with this, and it almost gets there. Is this a bad thing? I'm not sure. This Ned Kelly, the character, is uninteresting, not especially bright, and not a good leader. He makes a number of bad decisions through the story. Jagger's style here pretty much nails that character though. He's an every-man that horrible things have happened to for no good reason. He responds as best he can, which is badly and inevitably doesn't end well. Maybe it works. But in addition to working, a film does have to be fun to watch... Right? The final verdict is left to the future viewer.

On the whole, good, or at least ok, not great. I can see why there was an impulse to make a more up to date version.

The Linguini Incident


"The Linguini Incident" is a bizarre, slightly cartoonish, rom-com-ish crime comedy set in New York City. Lucy (Rosanna Arquette) is a waitress with aspirations of becoming an escape artist. She's desperately in need of money to purchase Harry Houdini's wedding ring. Monte (David Bowie) is a charming but shady English bartender who needs to marry an American citizen to avoid deportation. Together with Lucy's friend, Vivian (Eszter Balint), they hatch a plan, if you can call it that, to rob the restaurant. Comedy ensues.

The visual style, sets and costumes are maximum 1990, which is to say peak 1980s. It's lacking in a period soundtrack, but otherwise the styling is comically exaggerated.

The script is funny, but raises a lot of questions. Way didn't they just do A? How did B know about C? Why did D have the E when it was supposed to be F? That sounds of thing... It's best not to think about it too much. The only real question is how does such an odd little indy type comedy have David Bowie in it? David Bowie actually paid for a chunk of this film through his production company. "The Linguine Incident" is apparently just Bowie being Bowie and trying different things.

This is the sort of film that didn't get much response on the theaters, but no doubt was rented a lot on VHS. It's deliberately fluff with offbeat humor, interesting characters, and a fun blend of crime, comedy, romance and Bowie. Apparently the self defense bra was never perfected.

Movies with rock stars... This seemed like a good choice to watch after Ned Kelly.

Friday, August 02, 2024

Run Silent, Run Deep


Submarine combat gifts a film with tension and suspense "for free". When there's also a great cast, a great director and a great script, you're in for a treat. 

"Run Silent, Run Deep" revolves around a U.S. Navy submarine commander, Captain P.J. Richardson (Clark Gable), who is obsessed with avenging the sinking of his previous command, and three other subs, by a particular Japanese destroyer.

Managing to get assigned to a new submarine after a stint with a desk job, Richardson clashes with his executive officer, Lieutenant Jim Bledsoe (Burt Lancaster), who was originally slated to command the vessel himself and is accordingly resentful. These two strong leads go head to head just as the sub returns to the scene of prior action seeking the Japanese destroyer. There touches here of both Moby Dick and The Caine Mutiny.

A hallmark of "Run Silent, Run Deep" is its depiction of the claustrophobic and dangerous environment of a submarine, as well as the intense strategic thinking required for successful underwater combat. Submarine warfare isn't about the action, it's about tense games of underwater cat and mouse with the enemy. The film portrays this very effectively, just as it portrays tension among the crew and between the commanding officers.

The tactics developed by Richardson, apparently while he was office bound and supposed top be doing something else, involve setting up a straight on bow shot on the approaching enemy ship, requiring a very rapid dive. We see, in the film, the captain spends quite a bit of time drilling the puzzled crew on this maneuver - until it pays off against a less significant target than the destroyer. This tactic makes for suspenseful combat action, but was actually effectively impossible with war era instruments.

While Clark Gable, Burt Lancaster, and Jack Warden were the leading stars, the film's realism and tension are significantly enhanced by a strong supporting cast. There's many recognizable faces in among the crew, including Brad Dexter, Don Rickles and Nick Cravat to name just a few.

"Run Silent, Run Deep" fits right in and holds its own with more modern films like "Crimson Tide" and "Das Boot."

Spartacus


"Spartacus" is a behemoth that Kubrick completely disowned. The film is a sweeping historical drama that blends spectacle, character, and political intrigue, about which a great deal has been said, it's hard to know what to say here.

The film chronicles the rise of Spartacus (Kirk Douglas), a gladiator who leads a slave uprising against the Roman Republic. Up to that, it's historically accurate. The plot of the film is a generous fictionalization. The film's grandeur is undeniable however. From the sprawling battle sequences to the opulent Roman settings, "Spartacus" immerses in a world of epic proportions. They truly don't make'em like they used to.

Kirk Douglas delivers a powerful performance as the titular hero, but the supporting cast is impressive. Tony Curtis, Laurence Olivier, Charles Laughton, and Peter Ustinov shine in their respective roles. The script was written by Dalton Trumbo, who was still blacklisted in 1958, and when the producers agonized over whether they dared give him the writing credit or not, Stanley suggested that they solve the problem by giving the credit to himself. Problem solved. Ultimately Douglas choose to credit Trumbo. It may seem strange today but this was an extremely bold and risky move at that time. As a result though, "Spartacus" was instrumental in finally ending the blacklist system.

While it is an historical epic, the film does take queues from the social and political climate the 1950s. The struggle for freedom depicted in the film resonated with audiences during the Cold War era. Themes of oppression, rebellion, and the pursuit of individuality, together with outstanding action sequences and remarkable performances by major stars, make for timeless cinema. Its core message and visual impact remain undiminished over decades.

Kirk Douglas was the producer of "Spartacus", and was fairly hands on. Kubrick was not the first choice, but rather had to be brought in quickly after production had already started. Douglas had fired Anthony Mann on a day's notice, apparently due to Mann allowing Laughton and Olivier, and especially Ustinov to improvise too much, for Douglass's liking, off script. Douglas had worked with Kubrick on "Paths of Glory" and he apparently saw Kubrick as a known quantity who perhaps owed him one, although the two did not get along. As an aside, Mann immediately went on to direct "El Cid" and "The Fall of the Roman Empire." So he did fine. It was a good time for movies about gladiators. 

Production was plagued by casting issues, injuries and skyrocketing costs. Thankfully for film history, Douglas was determined. Tensions between Douglas and Kubrick on "Spartacus" are the stuff of movie legend. There were many shouting matches, a tale of a thrown chair, and more. At Kirk Douglas's wife suggestion, Kubrick and Douglas actually paused their work to jointly see a phycologist to try to work out their problems.

The most stunning example of the two being at odds revolves around the iconic "I Am Spartacus" moment. The scene where the slaves declare "I'm Spartacus!" to protect their leader was not in the original script. When the idea came up, Douglas wanted to try it. Kubrick wouldn't even respond to the memo. When Douglas brought it up to Kubrick in person (while on horseback no less), Kubrick famously physically ignored Douglas, then when pressed ultimately said "I don’t want to do it. It’s a stupid idea.”

It is then said, the story floats around the internet, that Douglas pined Kubrick against a wall with his horse, and told him "Listen you little prick... Shut up! …This may be a stupid idea, but we’re going to try it!"

There's more to that quote, but it's not clear where this story comes from. They obviously did the scene, so I'm sure there's truth to it. In an interview just before his 100th birthday, Douglas said of Kubrick “He was a bastard! But he was a talented, talented guy.”

Fun fact: for the sound of the masses declaring "I am Spartacus!" a Michigan State college football crowd was recorded before a game in a stadium.

Jeff Sexton

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