I agree, "The Illusionist" is solid entertainment, with two solid performances by Edward Norton and Paul Giamatti in the leading roles as they go back and forth with each other. My wife absolutely loves this movie.
Films Worth Viewing Year 3
- Thread starter zymurg
- Start date
I agree, "The Illusionist" is solid entertainment, with two solid performances by Edward Norton and Paul Giamatti in the leading roles as they go back and forth with each other. My wife absolutely loves this movie.
"Phantom of the Opera"-Terrence Fisher-1963
This is the Hammer films version of the classic Gaston Theroux story. Terrence Fisher was a Hammer stalwart;he directed perhaps the best Hammer Horror film ,"The Horror of Dracula." This film was a box office flop. The curious back story helps to explain why. For some reason Cary Grant decided he wanted to make a horror film.
Phantom was thought to be a suitable choice. With Grant in mind, the story was changed to make the Phantom more sympathetic. A new character was introduced, Bill, a mute dwarf who did the violence. After reading the script, Grant declined the role. (See my discussion of the other Phantoms July 2019, page 9 year 2.)
In this story version, Lord Ambrose D'Arcy steals Dr. .Petries' compositions and issues them under his name. Petrie starts a fire at the publisher's and he ends up disfigured. He escapes the fire, and with the help of Bill he sets up under the opera. He has Bill kidnap Christine Charles, the young soprano who will sing the lead role in his opera "Joan of Arc." He teaches her how to maximize her potential. The producer, Harry Hunter (Edward D'Souza), has fallen in love with Christine when she turns up missing , he searches for her. He finds the Phantom, Herbert Lom. The opera is a success and Lord Ambrose (Michael Gough) gets his comeuppance.
The opera staging is well done. The Phantom plays the organ. The underground lair is well done. The film just doesn't have the shock horror value of the 1923 version. It's too nice. I believe Fisher might have made a much better Phantom if Cary Grant hadn't had a whim to make a horror film.
This is still a watchable film. It streams for free.
This is the Hammer films version of the classic Gaston Theroux story. Terrence Fisher was a Hammer stalwart;he directed perhaps the best Hammer Horror film ,"The Horror of Dracula." This film was a box office flop. The curious back story helps to explain why. For some reason Cary Grant decided he wanted to make a horror film.
Phantom was thought to be a suitable choice. With Grant in mind, the story was changed to make the Phantom more sympathetic. A new character was introduced, Bill, a mute dwarf who did the violence. After reading the script, Grant declined the role. (See my discussion of the other Phantoms July 2019, page 9 year 2.)
In this story version, Lord Ambrose D'Arcy steals Dr. .Petries' compositions and issues them under his name. Petrie starts a fire at the publisher's and he ends up disfigured. He escapes the fire, and with the help of Bill he sets up under the opera. He has Bill kidnap Christine Charles, the young soprano who will sing the lead role in his opera "Joan of Arc." He teaches her how to maximize her potential. The producer, Harry Hunter (Edward D'Souza), has fallen in love with Christine when she turns up missing , he searches for her. He finds the Phantom, Herbert Lom. The opera is a success and Lord Ambrose (Michael Gough) gets his comeuppance.
The opera staging is well done. The Phantom plays the organ. The underground lair is well done. The film just doesn't have the shock horror value of the 1923 version. It's too nice. I believe Fisher might have made a much better Phantom if Cary Grant hadn't had a whim to make a horror film.
This is still a watchable film. It streams for free.
"Shazam!"-David F. Sandberg-2019
I like this film. I was never a super fan of comics growing up, but even I remember some slogans" "D.C.Comics are good comics" for instance. As I remember it comics had a circular seal which let you know that they were free of polluting elements. "Shazam!" takes us back to a more idealistic and simple time. Remember the first issue of Captain Marvel came out in 1940. He was the first superhero with a movie "Adventures of Captain Marvel" in 1941. The original Captain Marvel appeared in Whiz comics a subsidiary of Fawcett Comics. There was no issue #1. Issue #2 begins the saga with a classic villain, Dr. Savana as well as the hero, Captain Marvel.
The magic word, Shazam, always troubled me. It mixes two Gods, Zeus and Mercury, with heroes (Hercules ,and Achilles) with two outliers, Atlas and Solomon. Atlas is a Titan and Solomon is a Biblical king noted for wisdom.
Back in the day we learned Greco/Roman mythology in school. Solomon we learned about in Sunday School. Origin stories are always interesting. Of course in the comic world, we are offered anew origin story every generation or so. This movie is based on the latest re-boot of Captain Marvel which begins in 2013. The character loses the name Captain Marvel and it is sort of replaced by Shazam. I say sort of because in the movie a name is never settled upon until his family has their hands on the staff. He asks them to say his name; they all say Billy Batson. Of course that doesn't work, he tells them to say Shazam. This magic word unlocks the power of the staff and each of his brothers and sisters becomes a super hero.
The film begins in 1974 with the origin story of the villain, Savana. The last wizard has kept the seven deadly sins bound in stone statues for thousands of years. His powers are fading and he has been searching for someone pure of heart to transfer his powers. This individual must be pure of heart so he will not be tempted by the evil power of the seven deadly sins. Savana fails the test; he wants the magical eye of Envy. Savana is a child at the time. While it is never explained, we are led to believe children are tested because they are more likely to be pure. Of course Billy Batson is brought before the wizard. He receives the power via the staff. He is an unlikely choice. Years before he is separated from his mother at a carnival. He bounces between foster homes. He is searching for his mother.
The children in his new foster home are mixed racially and by sex. The foster parents were themselves products of the foster care system. They work hard to provide a home. Billy Batson has these incredible powers but no home. From his foster siblings he learns how to use his powers and has for the first time since he lost his mother he gains an emotional connection. Saying the magic word Shazam makes him an adult sized child super hero. The film harkens back to the classic comedy "Big."
Zack Levy plays the transformed Billy Batson. He relies on Freddy (Jack Dylan Grazer) to discover the nature of his powers and how to use them. Of course Savana now re-appears. He wants Billy Batson to transfer the powers via the staff. This is solid entertainment. Mark Strong (Savana) gives a solid performance. Zach Levy is well cast as the superhero form of Billy Batson. He projects the same innocence he did in "Chuck" where he was the intercept. Despite a coda where Savana is in prison and a mysterious figure appears who will let him out; I don't see a viable sequel. Innocence must be lost in a sequel, and that is the principle virtue of this film.
This merits a solid recommendation.
I like this film. I was never a super fan of comics growing up, but even I remember some slogans" "D.C.Comics are good comics" for instance. As I remember it comics had a circular seal which let you know that they were free of polluting elements. "Shazam!" takes us back to a more idealistic and simple time. Remember the first issue of Captain Marvel came out in 1940. He was the first superhero with a movie "Adventures of Captain Marvel" in 1941. The original Captain Marvel appeared in Whiz comics a subsidiary of Fawcett Comics. There was no issue #1. Issue #2 begins the saga with a classic villain, Dr. Savana as well as the hero, Captain Marvel.
The magic word, Shazam, always troubled me. It mixes two Gods, Zeus and Mercury, with heroes (Hercules ,and Achilles) with two outliers, Atlas and Solomon. Atlas is a Titan and Solomon is a Biblical king noted for wisdom.
Back in the day we learned Greco/Roman mythology in school. Solomon we learned about in Sunday School. Origin stories are always interesting. Of course in the comic world, we are offered anew origin story every generation or so. This movie is based on the latest re-boot of Captain Marvel which begins in 2013. The character loses the name Captain Marvel and it is sort of replaced by Shazam. I say sort of because in the movie a name is never settled upon until his family has their hands on the staff. He asks them to say his name; they all say Billy Batson. Of course that doesn't work, he tells them to say Shazam. This magic word unlocks the power of the staff and each of his brothers and sisters becomes a super hero.
The film begins in 1974 with the origin story of the villain, Savana. The last wizard has kept the seven deadly sins bound in stone statues for thousands of years. His powers are fading and he has been searching for someone pure of heart to transfer his powers. This individual must be pure of heart so he will not be tempted by the evil power of the seven deadly sins. Savana fails the test; he wants the magical eye of Envy. Savana is a child at the time. While it is never explained, we are led to believe children are tested because they are more likely to be pure. Of course Billy Batson is brought before the wizard. He receives the power via the staff. He is an unlikely choice. Years before he is separated from his mother at a carnival. He bounces between foster homes. He is searching for his mother.
The children in his new foster home are mixed racially and by sex. The foster parents were themselves products of the foster care system. They work hard to provide a home. Billy Batson has these incredible powers but no home. From his foster siblings he learns how to use his powers and has for the first time since he lost his mother he gains an emotional connection. Saying the magic word Shazam makes him an adult sized child super hero. The film harkens back to the classic comedy "Big."
Zack Levy plays the transformed Billy Batson. He relies on Freddy (Jack Dylan Grazer) to discover the nature of his powers and how to use them. Of course Savana now re-appears. He wants Billy Batson to transfer the powers via the staff. This is solid entertainment. Mark Strong (Savana) gives a solid performance. Zach Levy is well cast as the superhero form of Billy Batson. He projects the same innocence he did in "Chuck" where he was the intercept. Despite a coda where Savana is in prison and a mysterious figure appears who will let him out; I don't see a viable sequel. Innocence must be lost in a sequel, and that is the principle virtue of this film.
This merits a solid recommendation.
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"Joker"-Todd Phillips-2019
I mentioned my interest in origin stories yesterday. That interest had me thinking about "Logan" which is the opposite of an origin story. That film discusses what happens after the ball is over. My point is that if the rumored sequel is made; then I hope that it is as thought provoking as the "Joker." Like Oliver in Oliver Twist; I say sir please give me more. I believe that most of you have viewed "Joker" since its' October 2019 premier. It is another example of DC Comics taking a chance. As comic based films go, this had a tiny budget around $55 million. Of course it made over a billion, and it won the Golden Lion at the Venice film festival. The Joker has become a pop culture icon, DC was worried about hurting the brand. That could cost multiple millions in sales of products. Of course that didn't happen.
Arthur Fleck (Joaquin Phoenix) is an unhappy loner who lives with his mother and makes his living as a clown. He has a tentative relationship with a young woman who lives in his building, Sophie Dummond (Zazie Beetz).
He hopes to become a stand-up comedian. There is a theory that most of us are only a bad day or two from madness. Arthur's run of bad days begins when a group of teenagers steal his sign advertising everything must go for a local business. He chases after them, and he is soundly beaten for his trouble. This Gotham is NYC in the early '80's when urban decay was more than just a soundbite. The garbage men are on strike. The city is experiencing a budget crunch. This directly impacts Arthur because he is losing his social worker/counselor due to budget cuts.
Joaquin Phoenix's performance as Joker/Fleck is the centerpiece of the film. Phoenix lost 55 lbs to play the role.
He perfected a more than memorable laugh. He had the ability to change his performance in every shot. This was part of the reason why the first cut was 155 minutes. The release cut over half an hour. Arthur's world falls apart. His mother, a mental patient, reveals shocking information about his birth. While in clown make-up on the subway he shoots and kills 3 Wayne industries white collar thugs who are harassing him. Somehow this becomes a symbol of class warfare. People began wearing clown masks at demonstrations.
This is handled very skillfully. The fact that very little CGI was used lends to the grittyness.. I like the soundtrack which blends original music with songs from the era. Hildur Guanadottir wrote the score after reading the script and discussions with the director. This enabled the score to be played during shooting. Sergio Leone used this technique. Phoenix was influenced by silent comedians Buster Keeton and Ray Bolger. Martin Scorcese was originally a choice to direct; there is no doubt that his style and storytelling is invoked particularly "King Of Comedy." Robert DeNiro plays Murray Franklin, a late night comedian, who invites Fleck on his show,
This is a film with a remarkable leading performance and professionalism in all areas aspiring to artistry in several. It is also remarkably dark. Adrian Raine, a criminal psychologist, found the film to be remarkable in showing how a murderer might be created. He shows it in his classes. The Joker has become a symbol of revolt against the status quo around the world. This is probably why the film wasn't released in China, the world's 2nd largest market. My highest recommendation, but this is brutal watching.
I mentioned my interest in origin stories yesterday. That interest had me thinking about "Logan" which is the opposite of an origin story. That film discusses what happens after the ball is over. My point is that if the rumored sequel is made; then I hope that it is as thought provoking as the "Joker." Like Oliver in Oliver Twist; I say sir please give me more. I believe that most of you have viewed "Joker" since its' October 2019 premier. It is another example of DC Comics taking a chance. As comic based films go, this had a tiny budget around $55 million. Of course it made over a billion, and it won the Golden Lion at the Venice film festival. The Joker has become a pop culture icon, DC was worried about hurting the brand. That could cost multiple millions in sales of products. Of course that didn't happen.
Arthur Fleck (Joaquin Phoenix) is an unhappy loner who lives with his mother and makes his living as a clown. He has a tentative relationship with a young woman who lives in his building, Sophie Dummond (Zazie Beetz).
He hopes to become a stand-up comedian. There is a theory that most of us are only a bad day or two from madness. Arthur's run of bad days begins when a group of teenagers steal his sign advertising everything must go for a local business. He chases after them, and he is soundly beaten for his trouble. This Gotham is NYC in the early '80's when urban decay was more than just a soundbite. The garbage men are on strike. The city is experiencing a budget crunch. This directly impacts Arthur because he is losing his social worker/counselor due to budget cuts.
Joaquin Phoenix's performance as Joker/Fleck is the centerpiece of the film. Phoenix lost 55 lbs to play the role.
He perfected a more than memorable laugh. He had the ability to change his performance in every shot. This was part of the reason why the first cut was 155 minutes. The release cut over half an hour. Arthur's world falls apart. His mother, a mental patient, reveals shocking information about his birth. While in clown make-up on the subway he shoots and kills 3 Wayne industries white collar thugs who are harassing him. Somehow this becomes a symbol of class warfare. People began wearing clown masks at demonstrations.
This is handled very skillfully. The fact that very little CGI was used lends to the grittyness.. I like the soundtrack which blends original music with songs from the era. Hildur Guanadottir wrote the score after reading the script and discussions with the director. This enabled the score to be played during shooting. Sergio Leone used this technique. Phoenix was influenced by silent comedians Buster Keeton and Ray Bolger. Martin Scorcese was originally a choice to direct; there is no doubt that his style and storytelling is invoked particularly "King Of Comedy." Robert DeNiro plays Murray Franklin, a late night comedian, who invites Fleck on his show,
This is a film with a remarkable leading performance and professionalism in all areas aspiring to artistry in several. It is also remarkably dark. Adrian Raine, a criminal psychologist, found the film to be remarkable in showing how a murderer might be created. He shows it in his classes. The Joker has become a symbol of revolt against the status quo around the world. This is probably why the film wasn't released in China, the world's 2nd largest market. My highest recommendation, but this is brutal watching.
"The House I Live In" Frank Sinatra and Paul Robeson
I had the very strong feeling watching Biden's speech tonight that I would have liked to have written his speech.
My strong feeling was that he should have talked about coming home. Coming home to an America which is what I hope she could be. Then I thought about a great anthem which expresses this feeling better than I ever could. The music is by Eric Robinson and lyrics by Lewis Allan (Abel Meeropol). The two best known versions are by Frank Sinatra and Paul Robeson. Both are available on YouYube. The lyrics differ slightly so I am Going to offer both. Sinatra's came from an RKO movie. The Library of Congress has a good version.
Sinatra "The House I Lvie In"
What is America to me?
A name, a map, a flag to me
A certain word democracy
What is America to me?
The house I live in
A plot of earth, a street
The grocer and the butcher
Or the people That I meet
The children in the playground
The faces that I see
All races and religions
That's America to me
The place I work in
The worker by my side
The little town, the city
Where my people lived and died
The howdy and the Handshake
The air of feeling free
The right to speak your mind
That's America to me
The things I see about me
The big things and the small
The Little corner newsstand
Or the house a mile tall
The wedding and the churchyard
The laughter and the tears
And the dream.
Robeson lyrics
What is America to me?
A name, a map, a flag I see
A certain word Democracy
What is America to me?
The house I live in
The friends that I have found
The folks beyond the railroad
And the people all around
The worker and the farmer
and sailor on the sea
The men who built this country
That's America to me.
The words of old Abe Lincoln
of Jefferson and Paine
of Washington and Jackson
and the tasks that still remain.
The little bridge at Concord
where freedom's fight began
of Gettysburg and Midway
and the story of Bataan
The house I live in
My neighbors White and Black
The people who just came here
Or from generations back
The town hall and the soapbox
The torch of Liberty
A home for all God's children
That's America to me
The house I live in
The goodness everywhere
A land of wealth and beauty
With enough for all to share
A name that we call Freedom
The home of Liberty
But especially the people
That's America to me.
But especially the people
That's the true America.
The Robeson version is available on Youtube.
I apologize to anyone this might offend, but I couldn't face writing about a film. I am by nature a pessimist,
but tonight I found some hope. Pandora's box is not empty, and surprisingly I still believe in the America which is a home for all of us.
I had the very strong feeling watching Biden's speech tonight that I would have liked to have written his speech.
My strong feeling was that he should have talked about coming home. Coming home to an America which is what I hope she could be. Then I thought about a great anthem which expresses this feeling better than I ever could. The music is by Eric Robinson and lyrics by Lewis Allan (Abel Meeropol). The two best known versions are by Frank Sinatra and Paul Robeson. Both are available on YouYube. The lyrics differ slightly so I am Going to offer both. Sinatra's came from an RKO movie. The Library of Congress has a good version.
Sinatra "The House I Lvie In"
What is America to me?
A name, a map, a flag to me
A certain word democracy
What is America to me?
The house I live in
A plot of earth, a street
The grocer and the butcher
Or the people That I meet
The children in the playground
The faces that I see
All races and religions
That's America to me
The place I work in
The worker by my side
The little town, the city
Where my people lived and died
The howdy and the Handshake
The air of feeling free
The right to speak your mind
That's America to me
The things I see about me
The big things and the small
The Little corner newsstand
Or the house a mile tall
The wedding and the churchyard
The laughter and the tears
And the dream.
Robeson lyrics
What is America to me?
A name, a map, a flag I see
A certain word Democracy
What is America to me?
The house I live in
The friends that I have found
The folks beyond the railroad
And the people all around
The worker and the farmer
and sailor on the sea
The men who built this country
That's America to me.
The words of old Abe Lincoln
of Jefferson and Paine
of Washington and Jackson
and the tasks that still remain.
The little bridge at Concord
where freedom's fight began
of Gettysburg and Midway
and the story of Bataan
The house I live in
My neighbors White and Black
The people who just came here
Or from generations back
The town hall and the soapbox
The torch of Liberty
A home for all God's children
That's America to me
The house I live in
The goodness everywhere
A land of wealth and beauty
With enough for all to share
A name that we call Freedom
The home of Liberty
But especially the people
That's America to me.
But especially the people
That's the true America.
The Robeson version is available on Youtube.
I apologize to anyone this might offend, but I couldn't face writing about a film. I am by nature a pessimist,
but tonight I found some hope. Pandora's box is not empty, and surprisingly I still believe in the America which is a home for all of us.
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- Aug 28, 2011
- Messages
- 29,448
- Reaction Score
- 83,169
I've been watching some David Griffin movies from the the teens and 20s. What's remarkable about them is that the his narrative style is still the template for many films today including his use of flashbacks. I also think that his use of close ups was lost for many years until Sergio Leone brought it back for spaghetti westerns.
As for the Biden. I think he cements 2020 as the worst year ever.
As for the Biden. I think he cements 2020 as the worst year ever.
.-.
"Arsenic and Old Lace'-Frank Capra-1944
This is considered a classic madcap comedy. If you view Capra's filmography, this is a bit strange. What was Capra doing making this film in the middle of WWII? Capra enlisted along with many other leading directors; during the war they made the classic documentaries that are well worth viewing today. Actually, Capra shot the film prior to his enlistment. He was granted a short time to complete editing. So then why was the film kept on the shelf for two Years? The deal with the play's producers was that the film wouldn't be released until the end of the Broadway run was completed. The play ran for over 1,400 performances. There is one final note; while Capra was in London in 1943;he overheard American troops yelling "Charge,: one of the classic lines from the movie. Hal Wallis released it to the troops early. The official premier was in September 1944 in NYC. This meant that it was ignored at the Oscars.
Capra wanted to make a film that wasn't socially relevant. He knew he was going to war; he wanted to make a fun movie. This was his choice. The Epstein brothers, Julius and Phillip were brought in to write the screenplay.
The Brewster house was the largest set ever built at Warner's at the time. The play's producers refused to let Boris Karloff out of his contract to make the play. He was the top billed star of the Broadway production; Cary Grant was top billed in the movie.
There was a trope beloved in the WWII era that Brooklyn was la la cuckoo land. This is introduced in a sort of preamble with a brawl at a Brooklyn Dodgers' game. Next we are introduced to Mortimer Brewster (Cary Grant)
and Elaine Harper (Priscilla Lane) at the register;s office applying for a marriage license. Brewster, a drama critic, is even better know for his books trashing marriage. He tries to conceal his identity from prowling reporters looking for the famous in the lines. We next meet one of the Brewster aunts , Abby, (Josephine Hull) at home where she entertains her neighbor, Reverend Harper, at tea. Two local police come by. One, officer O'Hara (Jack Carson) is introduced as the new man on the beat. The Brewster sisters are known as loving and caring residents. Mortimer returns to his aunt's home. Elaine is going to change her clothes, and then they will be off to Niagra Falls for their honeymoon.
Unfortunately, Mortimer discovers that there is a dead body concealed in the window seat. The other sister comes home, Mortimer discovers that this latest body makes an even dozen. These lovable spinsters are mass murderers. Their method is elderberry wine made from local berries growing in the adjacent graveyard.
The wine is sweetened with a mixture of arsenic and two other poisons. They Hayes office was worried about releasing the recipe, but sanity prevailed and the script wasn't changed. This is a problem for Mortimer. He decides to solve it by pinning all the bodies on his brother Teddy , (John Adair) who believes he is Teddy Roosevelt. His part in the project is to dig locks in the Panama Canal and to bury malaria victims. Adair is very good and very funny in his role. Grant has some unbelievable facial expressions.
The madness doesn't stop. While Mortimer is completing his plan to send Teddy to a rest home; his long lost brother, Jonathan (Raymond Massey) shows up with Dr. Einstein (Peter Lorre). Jonathan is a normal serial murderer; he has left bodies across much of the world. He arrives with a body in tow. He looks like the Frankenstein monster (Boris Karloff). Einstein will give him a new face. This film relishes each new bit of craziness. I should mention that the film finds screen time for several classic character actors Jimmy Gleeson and Edward Everett Horton.
Opinions are divided about this film. Most find it one of the funniest films of all time; the minority finds it pretty awful. A few like me find it has some solid pleasures and great lines, but that it doesn't really sniff greatness. I think it is enjoyable and worth viewing.
This is considered a classic madcap comedy. If you view Capra's filmography, this is a bit strange. What was Capra doing making this film in the middle of WWII? Capra enlisted along with many other leading directors; during the war they made the classic documentaries that are well worth viewing today. Actually, Capra shot the film prior to his enlistment. He was granted a short time to complete editing. So then why was the film kept on the shelf for two Years? The deal with the play's producers was that the film wouldn't be released until the end of the Broadway run was completed. The play ran for over 1,400 performances. There is one final note; while Capra was in London in 1943;he overheard American troops yelling "Charge,: one of the classic lines from the movie. Hal Wallis released it to the troops early. The official premier was in September 1944 in NYC. This meant that it was ignored at the Oscars.
Capra wanted to make a film that wasn't socially relevant. He knew he was going to war; he wanted to make a fun movie. This was his choice. The Epstein brothers, Julius and Phillip were brought in to write the screenplay.
The Brewster house was the largest set ever built at Warner's at the time. The play's producers refused to let Boris Karloff out of his contract to make the play. He was the top billed star of the Broadway production; Cary Grant was top billed in the movie.
There was a trope beloved in the WWII era that Brooklyn was la la cuckoo land. This is introduced in a sort of preamble with a brawl at a Brooklyn Dodgers' game. Next we are introduced to Mortimer Brewster (Cary Grant)
and Elaine Harper (Priscilla Lane) at the register;s office applying for a marriage license. Brewster, a drama critic, is even better know for his books trashing marriage. He tries to conceal his identity from prowling reporters looking for the famous in the lines. We next meet one of the Brewster aunts , Abby, (Josephine Hull) at home where she entertains her neighbor, Reverend Harper, at tea. Two local police come by. One, officer O'Hara (Jack Carson) is introduced as the new man on the beat. The Brewster sisters are known as loving and caring residents. Mortimer returns to his aunt's home. Elaine is going to change her clothes, and then they will be off to Niagra Falls for their honeymoon.
Unfortunately, Mortimer discovers that there is a dead body concealed in the window seat. The other sister comes home, Mortimer discovers that this latest body makes an even dozen. These lovable spinsters are mass murderers. Their method is elderberry wine made from local berries growing in the adjacent graveyard.
The wine is sweetened with a mixture of arsenic and two other poisons. They Hayes office was worried about releasing the recipe, but sanity prevailed and the script wasn't changed. This is a problem for Mortimer. He decides to solve it by pinning all the bodies on his brother Teddy , (John Adair) who believes he is Teddy Roosevelt. His part in the project is to dig locks in the Panama Canal and to bury malaria victims. Adair is very good and very funny in his role. Grant has some unbelievable facial expressions.
The madness doesn't stop. While Mortimer is completing his plan to send Teddy to a rest home; his long lost brother, Jonathan (Raymond Massey) shows up with Dr. Einstein (Peter Lorre). Jonathan is a normal serial murderer; he has left bodies across much of the world. He arrives with a body in tow. He looks like the Frankenstein monster (Boris Karloff). Einstein will give him a new face. This film relishes each new bit of craziness. I should mention that the film finds screen time for several classic character actors Jimmy Gleeson and Edward Everett Horton.
Opinions are divided about this film. Most find it one of the funniest films of all time; the minority finds it pretty awful. A few like me find it has some solid pleasures and great lines, but that it doesn't really sniff greatness. I think it is enjoyable and worth viewing.
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You mean D.W. Griffith, I think? I will do several of his films. They are on the list in my head, particularly "The Birth of a Nation" and "Intolerance."
Thanks for the D. W. Griffith translation. The reference to David Griffin had left me scratching my head. It just didn't occur to me that it was a reference was to one of the giants of cinema.
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I like Arsenic and Old Lace quite a bit, especially as it has a bunch of actors in it that you referenced that I always enjoy watching. This film is a particular favorite of my wife.
"Gospel" Rev. James Cleveland, Shirley Caesar, Mighty Clouds of Joy et. al.-1983
This is available on IMDb free with ads. I'm not sure how many of you have even a passing awareness of Gospel Music. One of my all time genres is Southern Soul. You can hear echoes of Black Evangelical religious music in artists as diverse as James Brown, Curtis Mayfield, Aretha Franklin, Solomon Burke, and Al Green. However, this is the real thing; the sacred not mixed with the profane. I have mentioned that I sang in choirs for years, but this isn't my church music. This is a live concert recorded and filmed in the Bay Area in the early '80's. It has lots of audience participation. Can I get a witness? Expressions of joy are every where. There is dancing, clapping, and singing. Much of the audience is on their feet as often as they are seated. This was followed in the late 80's by "Oh, Holy Day" which has the outtakes from the concert. It is available on Prime, but don't waste your time. Since the title hymn is one of my favorites try Aretha's version on YouTube. An example of how Gospel can form the basis for a secular song is "None of Us Is Free," by the great Bishop Solomon Burke again on YouTube.
Finally check out James Brown appearance on the Tammi Show. His dance moves influence Michael Jackson and his performance of "Please, Please, Please" is reminiscent of a James Cleveland performance. In this case the drummer's sticks are taken not once bur twice. Then he is banished from the stage, but he returns to drum again for the song's conclusion. Shirley Caesar is a great storyteller. The Mighty Clouds of Joy have the most amazing falsetto singer I've ever heard. I challenge you to sit quietly during this performance. Bring some much needed joy into your life.
This isn't a great music documentary. It is just a competent filming of great performances, and some not so great performances. Still this is very highly recommended.
This is available on IMDb free with ads. I'm not sure how many of you have even a passing awareness of Gospel Music. One of my all time genres is Southern Soul. You can hear echoes of Black Evangelical religious music in artists as diverse as James Brown, Curtis Mayfield, Aretha Franklin, Solomon Burke, and Al Green. However, this is the real thing; the sacred not mixed with the profane. I have mentioned that I sang in choirs for years, but this isn't my church music. This is a live concert recorded and filmed in the Bay Area in the early '80's. It has lots of audience participation. Can I get a witness? Expressions of joy are every where. There is dancing, clapping, and singing. Much of the audience is on their feet as often as they are seated. This was followed in the late 80's by "Oh, Holy Day" which has the outtakes from the concert. It is available on Prime, but don't waste your time. Since the title hymn is one of my favorites try Aretha's version on YouTube. An example of how Gospel can form the basis for a secular song is "None of Us Is Free," by the great Bishop Solomon Burke again on YouTube.
Finally check out James Brown appearance on the Tammi Show. His dance moves influence Michael Jackson and his performance of "Please, Please, Please" is reminiscent of a James Cleveland performance. In this case the drummer's sticks are taken not once bur twice. Then he is banished from the stage, but he returns to drum again for the song's conclusion. Shirley Caesar is a great storyteller. The Mighty Clouds of Joy have the most amazing falsetto singer I've ever heard. I challenge you to sit quietly during this performance. Bring some much needed joy into your life.
This isn't a great music documentary. It is just a competent filming of great performances, and some not so great performances. Still this is very highly recommended.
"Mississippi Masala"-Mira Nair-1991
I just read a blip stating that Nair is looking for a good print of this film so that it can be re-issued. With Kamala Harris elected as vice-president the film is quite relevant. Kamala's mother came from India. The film is set primarily in Greenwood, Mississippi. It features a romance between Meena (Sumitra Choudhray) and Demetrius
Williams (Denzel Washington). She is an Indian immigrant, and he is a native of Mississippi. That is only one aspect of the story; Meena's family was forced to flee Uganda when Idi Amin came to power. The British brought Indians to Uganda to build a railroad; many stayed on. Those of you who have seen :"Gandhi" may remember that the same thing happened in South Africa. This is where Gandhi first used his non violent tactics.
Meena"s father, Jay (Roshan Seth), is still trying to regain his lost property in Uganda after almost 20 years after he was forced out.
In some ways the multiple stories are a weakness. However, the central premise is so thought provoking that I didn't really mind. In both India and in the US, skin color is important. In my village in Tamilnad it was called having a good complexion, i.e. a lighter skin color. Among Americans expressions like "High Yellow" were common. In the film it is explicitly stated that you can be poor and light skinned and make a favorable match, or you can be rich and dark and make a favorable match, but not poor and dark.
Mina Nair developed the idea for this film when she discovered that all across the South immigrant Indians owned and ran motels. Nair dealt with a similar issue in the much better known "Namesake." In that film an Indian is involved with a White American girl. In "Mississippi Masala" an Indian girl is involved with a Black American. Both the Indian immigrants and the American Blacks exhibit prejudice. Meena and Demetrius have to runaway to start a new life together. Jay returns to Uganda to pursue his suit, but he discovers that his home is really with his wife in Greenwood, Mississippi.
The film handles this much more skillfully than I did. The acting is good to excellent. The film begins and ends in Uganda. All the filming was on location even including the small bit in England. The film's music is truly excellent. It mixes African, Indian, and music from the U,S, South brilliantly. The film never achieved popular success; still it made Roger Ebert's top ten list for 1991. Nair is one of those film makers who is both universal and particular. "Salam Bombay", her first feature, is the story of street kids n India. "Monsoon Wedding" takes us to Delhi where Indian immigrants to America return to be married in India. In the "Queen of Katwe" a young girl in Uganda discovers chess. She re-made "Vanity Fair." Nair herself was educated in Delhi and Harvard. She is a Canadian citizen. She travels the world making films most often dealing with common features of all humans. She also deals with cultural intersections in thoughtful ways. I think she is vastly under appreciated. Think of this as an opportunity to experience something new. This film streams for free on 123, but you may have to try several options before you hit the right one. Highly recommended.
I just read a blip stating that Nair is looking for a good print of this film so that it can be re-issued. With Kamala Harris elected as vice-president the film is quite relevant. Kamala's mother came from India. The film is set primarily in Greenwood, Mississippi. It features a romance between Meena (Sumitra Choudhray) and Demetrius
Williams (Denzel Washington). She is an Indian immigrant, and he is a native of Mississippi. That is only one aspect of the story; Meena's family was forced to flee Uganda when Idi Amin came to power. The British brought Indians to Uganda to build a railroad; many stayed on. Those of you who have seen :"Gandhi" may remember that the same thing happened in South Africa. This is where Gandhi first used his non violent tactics.
Meena"s father, Jay (Roshan Seth), is still trying to regain his lost property in Uganda after almost 20 years after he was forced out.
In some ways the multiple stories are a weakness. However, the central premise is so thought provoking that I didn't really mind. In both India and in the US, skin color is important. In my village in Tamilnad it was called having a good complexion, i.e. a lighter skin color. Among Americans expressions like "High Yellow" were common. In the film it is explicitly stated that you can be poor and light skinned and make a favorable match, or you can be rich and dark and make a favorable match, but not poor and dark.
Mina Nair developed the idea for this film when she discovered that all across the South immigrant Indians owned and ran motels. Nair dealt with a similar issue in the much better known "Namesake." In that film an Indian is involved with a White American girl. In "Mississippi Masala" an Indian girl is involved with a Black American. Both the Indian immigrants and the American Blacks exhibit prejudice. Meena and Demetrius have to runaway to start a new life together. Jay returns to Uganda to pursue his suit, but he discovers that his home is really with his wife in Greenwood, Mississippi.
The film handles this much more skillfully than I did. The acting is good to excellent. The film begins and ends in Uganda. All the filming was on location even including the small bit in England. The film's music is truly excellent. It mixes African, Indian, and music from the U,S, South brilliantly. The film never achieved popular success; still it made Roger Ebert's top ten list for 1991. Nair is one of those film makers who is both universal and particular. "Salam Bombay", her first feature, is the story of street kids n India. "Monsoon Wedding" takes us to Delhi where Indian immigrants to America return to be married in India. In the "Queen of Katwe" a young girl in Uganda discovers chess. She re-made "Vanity Fair." Nair herself was educated in Delhi and Harvard. She is a Canadian citizen. She travels the world making films most often dealing with common features of all humans. She also deals with cultural intersections in thoughtful ways. I think she is vastly under appreciated. Think of this as an opportunity to experience something new. This film streams for free on 123, but you may have to try several options before you hit the right one. Highly recommended.
.-.
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He did a lot of Lillian Gish pictures that were aimed at the female audience. Interesting but very slow by today's standards.
BTW, the D stands for David.
I might have gotten it if you had spelled the last name Griffith correctly. Of course, it is not a big gulf between Griffith and Griffin, but sometimes the mind moves a tad slowly and doesn't make the quick connection as we get older.
"The Birth of a Nation"-D.W. Griffiih-1915
This is the first feature film made in the U.S. It was very expensive; it cost $110,000. The world wide box office has been estimated at anywhere from $10-50 million. It made more money than any US film until "Gone With the Wind" in 1939. It is ranked #44 on AFI's list of the 100 most notable American films. It is a must see for anyone really interested in film history. It is the first film to have a major social impact. Unfortunately, the social impact is pretty universally regarded as very negative.
The film is based on the novels and a stage play :The Clansman: by Thomas Dixon Jr. This play extolling the Ku Klux Klan was a huge success. Griffith's actress wife had a leading role in a touring company production. Griffith had to raise considerable money to make this film. He promised Dixon $10,000, but Dixon had to settle for $2,500 and a percentage of the admissions. This was before the era of big studios and theater chains. LB. Mayer made a fortune when he secured the rights to distribute the film in several states. There were protests against the overly racist movie. They were unsuccessful; the film was in continual release through the mid twenties.
The film is directly linked to the modern Klan founded in 1915 by Reverend William Simmons. He gathered a group of white supremacists at Stone Mountain Georgia. The ceremonies included a ritual cross burning. He brought his group to Atlanta where they rode on horses through the streets until they reached the theater. They wore Klan regalia as depicted in the movie. The new Klan had somewhere between 4 and 10 million members by the mid 20's. They were very strong in the mid-west as well as the South, but there were chapters throughout the U.S.
The new Klan was anti foreign as well as anti Black. There was a rising anti immigrant feeling rising through the country.
The president, Woodrow Wilson, was a noted racist. He segregated the civil service and got rid of many Blacks. He went to College with Dixon. Dixon convinced Wilson to show the film at the White House. It was the first film so screened. Reported racist comments supporting the film by Wilson were denied by the White House. They claimed that Wilson didn't know the nature of the film before he saw it. That isn't accepted by historians, Dixon even nominated him to receive an honorary degree from Wake Forrest, Wilson's thank you letter is available. Wilson's American history has many racially offensive comments. The film was shown to the members of the Supreme Court, who publicly approved of' the film's point of view.
The original film was 12 reels. It runs over three hours. t was shown with an intermission. The ticket prices were astronomically high for the day. The charged over two dollars in NYC. Even a decade later first run films
tickets were no more than a quarter. The film had a specially composed score which would be played by an orchestra or piano depending upon the venue. Other technical innovations used expertly in the film were tracking shots, shots from elevated cameras, intricate cuts, and key hole fade ins and outs. It is often compared with "Citizen Kane" for technical proficiency and innovation. It is also compared with Leni Rifenstahl's "Triumph of the Will" as promoting hate through masterful technique. I neglected to mention tinting the negative for visual effects.
One caution, there was only one original negative. When the film entered the public domain all new prints were taken from existing prints. The quality was degraded as the available prints were further and further from the original. The film is readily available; I have a very good DVD; However the best available version is a two disc blue ray from Kino.
Roger Ebert called it:..."a great film which argues for evil." He also wrote: "All serious moviegoers must sooner or later arrive at a point where they see a film for what it is and not what they feel about it." Andrew Serris wrote that TBOAN "was regarded as outrageously racist even in a time when racism was hardly a household word." Let me conclude with two of the intertitles: "The former enemies of North and South are united again in common defense of their Aryan Brotherhood".: One of the final intertitles is a quote from Daniel Webster:" Liberty and Union, now and forever, One and Inseparable."
This is the first feature film made in the U.S. It was very expensive; it cost $110,000. The world wide box office has been estimated at anywhere from $10-50 million. It made more money than any US film until "Gone With the Wind" in 1939. It is ranked #44 on AFI's list of the 100 most notable American films. It is a must see for anyone really interested in film history. It is the first film to have a major social impact. Unfortunately, the social impact is pretty universally regarded as very negative.
The film is based on the novels and a stage play :The Clansman: by Thomas Dixon Jr. This play extolling the Ku Klux Klan was a huge success. Griffith's actress wife had a leading role in a touring company production. Griffith had to raise considerable money to make this film. He promised Dixon $10,000, but Dixon had to settle for $2,500 and a percentage of the admissions. This was before the era of big studios and theater chains. LB. Mayer made a fortune when he secured the rights to distribute the film in several states. There were protests against the overly racist movie. They were unsuccessful; the film was in continual release through the mid twenties.
The film is directly linked to the modern Klan founded in 1915 by Reverend William Simmons. He gathered a group of white supremacists at Stone Mountain Georgia. The ceremonies included a ritual cross burning. He brought his group to Atlanta where they rode on horses through the streets until they reached the theater. They wore Klan regalia as depicted in the movie. The new Klan had somewhere between 4 and 10 million members by the mid 20's. They were very strong in the mid-west as well as the South, but there were chapters throughout the U.S.
The new Klan was anti foreign as well as anti Black. There was a rising anti immigrant feeling rising through the country.
The president, Woodrow Wilson, was a noted racist. He segregated the civil service and got rid of many Blacks. He went to College with Dixon. Dixon convinced Wilson to show the film at the White House. It was the first film so screened. Reported racist comments supporting the film by Wilson were denied by the White House. They claimed that Wilson didn't know the nature of the film before he saw it. That isn't accepted by historians, Dixon even nominated him to receive an honorary degree from Wake Forrest, Wilson's thank you letter is available. Wilson's American history has many racially offensive comments. The film was shown to the members of the Supreme Court, who publicly approved of' the film's point of view.
The original film was 12 reels. It runs over three hours. t was shown with an intermission. The ticket prices were astronomically high for the day. The charged over two dollars in NYC. Even a decade later first run films
tickets were no more than a quarter. The film had a specially composed score which would be played by an orchestra or piano depending upon the venue. Other technical innovations used expertly in the film were tracking shots, shots from elevated cameras, intricate cuts, and key hole fade ins and outs. It is often compared with "Citizen Kane" for technical proficiency and innovation. It is also compared with Leni Rifenstahl's "Triumph of the Will" as promoting hate through masterful technique. I neglected to mention tinting the negative for visual effects.
One caution, there was only one original negative. When the film entered the public domain all new prints were taken from existing prints. The quality was degraded as the available prints were further and further from the original. The film is readily available; I have a very good DVD; However the best available version is a two disc blue ray from Kino.
Roger Ebert called it:..."a great film which argues for evil." He also wrote: "All serious moviegoers must sooner or later arrive at a point where they see a film for what it is and not what they feel about it." Andrew Serris wrote that TBOAN "was regarded as outrageously racist even in a time when racism was hardly a household word." Let me conclude with two of the intertitles: "The former enemies of North and South are united again in common defense of their Aryan Brotherhood".: One of the final intertitles is a quote from Daniel Webster:" Liberty and Union, now and forever, One and Inseparable."
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"To Catch a Thief"-Alfred Hitchcock-1955
I think this film is dissed unfairly. It is beautifully photographed by Robert Burks, but knowing Hitchcock's attention to detail, it is likely he had a great deal to do with picking the shots. There is a story that Hitch wanted to take a vacation on the Rivera. He wouldn't have made this film without a working script and the right actors.
Cary Grant had announced his retirement; he believed after Brando's "On the Waterfront" there was no room for his type of acting. I recently watched "She Done Him Wrong" one of his early films co-starring in the May West production. He is an undercover policeman posing as a Salvation Army Captain. He is known as "The Hawk." Here his burglary name is "The Cat." In real life Archie Leech was a member of a troop of acrobats from England who toured the US. Today we only remember the urbane romantic lead of dozens of pictures. "To Catch a Thief" answers the question of whether he could play romantic leads at 50.
It is no secret that Hitch had a thing for Grace Kelly. She made only 11 films; three with Hitch. This was her last film. In 1956 she became Princess Grace of Monaco. The camera loves her in this film. I never could really warm up to her character Francine Stevens in this film. It particularly grates on me that she asks John Robbie to call her Francie. Jessie Royce Landis does a good job in her role as Francine's mother, but my favorite character in the film is John Williams' H.H. Houghton, the Lloyds of London insurance investigator. The scenes between Houghton and Robbie are excellent. Robbie uses his charm to enlist Houghton in his plan to take down the crook posing as "The Cat."
In the script by John Michael Hayes from David Dodds novel; John Robbie was a famous jewel thief in prison during the Nazi Occupation. He and his fellow inmates escape and join the Resistance. He and his compatriots are only paroled not pardoned for their contributions. Robbie has gone straight. He owns a vineyard and a floral garden which provide him with an upper class lifestyle. When several major robberies occur on the Rivera; Robbie is the first suspect in the collective mind of the police. The new cat uses Robbie's methods of entry from the rooftops and eaves no clues.
Two excellent touches are Hitch's appearance. This is more direct than in most of his films, and funnier for it.
Then there is a screenshot of a column of a story by Art Buchwald for the Herald Tribune asking the question whether the cat is back. This is a real story that Buchwald wrote early in his Paris career as a columnist for the International Herald Tribune.
I find this film a light but seductive pleasure. It is on Prime. Spend sometime on vacation in the Rivera; it will revive you.
I think this film is dissed unfairly. It is beautifully photographed by Robert Burks, but knowing Hitchcock's attention to detail, it is likely he had a great deal to do with picking the shots. There is a story that Hitch wanted to take a vacation on the Rivera. He wouldn't have made this film without a working script and the right actors.
Cary Grant had announced his retirement; he believed after Brando's "On the Waterfront" there was no room for his type of acting. I recently watched "She Done Him Wrong" one of his early films co-starring in the May West production. He is an undercover policeman posing as a Salvation Army Captain. He is known as "The Hawk." Here his burglary name is "The Cat." In real life Archie Leech was a member of a troop of acrobats from England who toured the US. Today we only remember the urbane romantic lead of dozens of pictures. "To Catch a Thief" answers the question of whether he could play romantic leads at 50.
It is no secret that Hitch had a thing for Grace Kelly. She made only 11 films; three with Hitch. This was her last film. In 1956 she became Princess Grace of Monaco. The camera loves her in this film. I never could really warm up to her character Francine Stevens in this film. It particularly grates on me that she asks John Robbie to call her Francie. Jessie Royce Landis does a good job in her role as Francine's mother, but my favorite character in the film is John Williams' H.H. Houghton, the Lloyds of London insurance investigator. The scenes between Houghton and Robbie are excellent. Robbie uses his charm to enlist Houghton in his plan to take down the crook posing as "The Cat."
In the script by John Michael Hayes from David Dodds novel; John Robbie was a famous jewel thief in prison during the Nazi Occupation. He and his fellow inmates escape and join the Resistance. He and his compatriots are only paroled not pardoned for their contributions. Robbie has gone straight. He owns a vineyard and a floral garden which provide him with an upper class lifestyle. When several major robberies occur on the Rivera; Robbie is the first suspect in the collective mind of the police. The new cat uses Robbie's methods of entry from the rooftops and eaves no clues.
Two excellent touches are Hitch's appearance. This is more direct than in most of his films, and funnier for it.
Then there is a screenshot of a column of a story by Art Buchwald for the Herald Tribune asking the question whether the cat is back. This is a real story that Buchwald wrote early in his Paris career as a columnist for the International Herald Tribune.
I find this film a light but seductive pleasure. It is on Prime. Spend sometime on vacation in the Rivera; it will revive you.
"Platoon"-Oliver Stone-1986
This is often cited with "Apocalypse Now" as being one of the greatest war films ever. North served in the combat infantry in Vet Nam close to the time period covered in the film. The head of photography was Robert Richardson in his first collaboration with Stone. He was nominated for "Platoon", but he didn't win. No living cinematographer has more nominations or Oscars. I had the feeling of being on the ground with this film. The film won 4 Oscars including Best Picture and Best Director.
The story covers late 1967 and early 1968. A new recruit, Chris (Charlie Sheen) joins a combat platoon. As a new man he finds it difficult to make friends. He is a volunteer who comes from an upper middle class background. His compatriots are mostly draftees who come from working class families. There are a few careerists, most prominently Staff Sgt. Barnes (Tom Berenger) and Sgt. Elias (Willem Dafoe). Stone cast against type for these two roles. Berenger plays the morally compromised Barnes and Dafoe plays the good leader
Elias. Elias confides in Chris that he no longer believes in the cause and that he expects the US to lose.
Without getting into the upper level politics Stone shows how the on ground policies are failing. There are very few Vietnamese fighting with the US army. The enemy is not fully glimpsed. There is also a disdain/hatred for the local villagers shown by most of the US troops. So much for winning the hearts and minds of the Viet Nams' people. There appears to be no larger plan to the troops on the ground. They fight and die to no real purpose .
Their only real goal is to complete their year's service in Nam.
The platoon seems to be split between the pot heads and the drinkers. This is a division Stone sets up. Elias is a smoker and Barnes is a drinker. We see Chris quickly become a highly competent veteran. No more plot reveal. Actually, what is most striking about this film is the day to day futility. The goal for every grunt is to make it through the day. Apparently, Chris is one of the few to ponder larger questions. Even he gives up writing long letters to his grandmother near the film's end.
This is a film you need to get inside. This film still has what made it a success when it first came out. It hasn't dated. It is still raw, confusing, and in the moment. Whether or not that makes it great depends upon the viewer. Available on Prime. Since most of you have seen it; I will say this is a must re-see.
This is often cited with "Apocalypse Now" as being one of the greatest war films ever. North served in the combat infantry in Vet Nam close to the time period covered in the film. The head of photography was Robert Richardson in his first collaboration with Stone. He was nominated for "Platoon", but he didn't win. No living cinematographer has more nominations or Oscars. I had the feeling of being on the ground with this film. The film won 4 Oscars including Best Picture and Best Director.
The story covers late 1967 and early 1968. A new recruit, Chris (Charlie Sheen) joins a combat platoon. As a new man he finds it difficult to make friends. He is a volunteer who comes from an upper middle class background. His compatriots are mostly draftees who come from working class families. There are a few careerists, most prominently Staff Sgt. Barnes (Tom Berenger) and Sgt. Elias (Willem Dafoe). Stone cast against type for these two roles. Berenger plays the morally compromised Barnes and Dafoe plays the good leader
Elias. Elias confides in Chris that he no longer believes in the cause and that he expects the US to lose.
Without getting into the upper level politics Stone shows how the on ground policies are failing. There are very few Vietnamese fighting with the US army. The enemy is not fully glimpsed. There is also a disdain/hatred for the local villagers shown by most of the US troops. So much for winning the hearts and minds of the Viet Nams' people. There appears to be no larger plan to the troops on the ground. They fight and die to no real purpose .
Their only real goal is to complete their year's service in Nam.
The platoon seems to be split between the pot heads and the drinkers. This is a division Stone sets up. Elias is a smoker and Barnes is a drinker. We see Chris quickly become a highly competent veteran. No more plot reveal. Actually, what is most striking about this film is the day to day futility. The goal for every grunt is to make it through the day. Apparently, Chris is one of the few to ponder larger questions. Even he gives up writing long letters to his grandmother near the film's end.
This is a film you need to get inside. This film still has what made it a success when it first came out. It hasn't dated. It is still raw, confusing, and in the moment. Whether or not that makes it great depends upon the viewer. Available on Prime. Since most of you have seen it; I will say this is a must re-see.
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I've continued to watch the Griffith films. It took me most of an evening to get through "Intolerance." It's over 3 hours long but took me closer to six hours to watch. It's obvious that this is a landmark in movie making. The scale of the film is enormous. The Babylon set is unlike any predecessor.
But it's kind of a mosh. The four separate stories don't really hang together. The rocking cradle that is used as a bridge doesn't really work. It just stops the story changes from being so jarring. Just as you start to care about a character, he or she disappear.
The scenes and costuming are great as are the scenes with hundreds of extras. The morality is heavy handed but that is the nature if early films. Interesting, historic, but it became more of an academic exercise for me rather than any fun.
But it's kind of a mosh. The four separate stories don't really hang together. The rocking cradle that is used as a bridge doesn't really work. It just stops the story changes from being so jarring. Just as you start to care about a character, he or she disappear.
The scenes and costuming are great as are the scenes with hundreds of extras. The morality is heavy handed but that is the nature if early films. Interesting, historic, but it became more of an academic exercise for me rather than any fun.
.-.
My thoughts on "Intolerance" are coming shortly; look for them on Wednesday.
"The Big Clock"-John Farrow-1948
John Farrow was married to Maureen O'Sullivan; they had a daughter Mia. The script by Jonathon Lattimer is based on the novel Henrich Fearing. It is often considered noir, but it has some basic differences.. There are some excellent performances, funny lines, and an interesting set. Most of the story takes place within the confines of the huge Janoth Publications building. As the film opens a tour group is being shown the huge clock. Its many faces show the current time around the globe. The head of this complex is Earl Janoth (Charles Laughton). He is calling a meeting with the heads of his various publications. The editor of "Crimeways", George Stroud (Ray Milland) is late. Janoth shows his cruel side, no transgression is too small and no employee so obscure as to escape punishment. Stroud escapes rebuke because he has once again found a fugitive before the police.
Stroud is scheduled to take a week's honeymoon with his wife and five year old son. Janoth wants him to stay and work the story. Stroud stands up and quits his job, but that doesn't work out. He meets Patricia York (Rita Johnson) n a bar. She is Janoth's disgruntled "protegee." She ends up getting killed in her apartment with a sundial. This was a prize from a bar which had everything. The sundial wrapped in a green ribbon met the couple's search for a green clock.
Stroud and Janoth are adversaries. Stroud knows he didn't commit the crime; Janoth doesn't know who he wants to frame. The final confrontation comes using the giant clock. In addition to the actors already mentioned. George Macreedy, Henry Morgan ,and particularly Elsa Lanchester do very good work. The Janoth Publications set is spectacular. This is well worth viewing, and streams for free.
Also you might try "The Vicious Circle"-Gerald Thomas-1957 which is an avalanche of misfortunes to a celebrated doctor Edward Lattimer (John Mills). Despite the presence of such excellent characters as Wilfred Hyde White this misses the mark for me. However, the never rain when it can pour factor makes is a solid diversion. It's on Prime.
John Farrow was married to Maureen O'Sullivan; they had a daughter Mia. The script by Jonathon Lattimer is based on the novel Henrich Fearing. It is often considered noir, but it has some basic differences.. There are some excellent performances, funny lines, and an interesting set. Most of the story takes place within the confines of the huge Janoth Publications building. As the film opens a tour group is being shown the huge clock. Its many faces show the current time around the globe. The head of this complex is Earl Janoth (Charles Laughton). He is calling a meeting with the heads of his various publications. The editor of "Crimeways", George Stroud (Ray Milland) is late. Janoth shows his cruel side, no transgression is too small and no employee so obscure as to escape punishment. Stroud escapes rebuke because he has once again found a fugitive before the police.
Stroud is scheduled to take a week's honeymoon with his wife and five year old son. Janoth wants him to stay and work the story. Stroud stands up and quits his job, but that doesn't work out. He meets Patricia York (Rita Johnson) n a bar. She is Janoth's disgruntled "protegee." She ends up getting killed in her apartment with a sundial. This was a prize from a bar which had everything. The sundial wrapped in a green ribbon met the couple's search for a green clock.
Stroud and Janoth are adversaries. Stroud knows he didn't commit the crime; Janoth doesn't know who he wants to frame. The final confrontation comes using the giant clock. In addition to the actors already mentioned. George Macreedy, Henry Morgan ,and particularly Elsa Lanchester do very good work. The Janoth Publications set is spectacular. This is well worth viewing, and streams for free.
Also you might try "The Vicious Circle"-Gerald Thomas-1957 which is an avalanche of misfortunes to a celebrated doctor Edward Lattimer (John Mills). Despite the presence of such excellent characters as Wilfred Hyde White this misses the mark for me. However, the never rain when it can pour factor makes is a solid diversion. It's on Prime.
Lemony Snicket's A Serie of Unfortunate Events"-Brad Siberling-2004
This film covers the first three books in a well known series. Snicket is the pen name for David Handler, his day job is a drummer in a rock band. The rights to the books were purchased in 2000. There was some question about who would direct; Tim Burton was the first name mentioned, and it was rumored to be a musical. Then Barry Sonnenfeld was attached in earnest; Handler was brought on to write the script. Then Nicklelodian brought in Dreamworks for additional funding. That meant another director, Siberling, and a new principal cast. Industrial Light and Magic was confirmed as the effects shop. Most importantly Jim Carey was confirmed as the lead, the evil Count Olaf. I find his performance amazing in a very positive way. The film won its only Oscar for his make-up.
The film focuses on the three Beaudelaire children; they lose their parents in a terrible fire. Violet (Emily Browning) at 14 is one of the pre-eminent young inventors in the world. Klaus (Liam Aiken) at 13 has read more books than most scholars have in a lifetime. Sunny (Karla and Shelly Hoffman) is four, but she appears to be less than two. Her most important attribute is her enormously powerful bite. Mr. Poe (Timothy Spall) is a representative from the bank charged with finding from among the Beaudelaire relatives a suitable guardian. There seems to be no careful vetting of candidates as the first choice is Count Olaf, a failed actor with an enormous ego and very questionable morals.
The film opens with Lemony Snicket reading and writing about the plight of the Beaudelaire children and warning the readers that this story/ is not a happily after one, bad things continually happen. We never see Snicket's (Jude Law) face. Count Olaf is accepting of his duties because of the very large estate the children possess. Of course he plans to shorten his guardianship with drastic action. In the meantime the children become servants trying to make Olaf's crumbling mansion habitable. They are given a list of chores which include construction. While they are engaged with making the dwelling habitable. Olaf meets with his troupe working on a new play. He mentions late that the children are expected to make dinner. Of course there is virtually nothing available in the way of foodstuffs or pots and pans. According to Olaf, dinner should have been Roast Beef rather than Pasta Puttanesca. He has a solid way to end their lives in an apparently accidental manner. He will leave the car on the railroad tracks with the children locked inside. The rushing train will destroy the car and his occupants, and Olaf will be heir to the fortune.
Of course Olaf fails as the children team up to make a clever escape plan. Poe rescinds the guardianship, not because Olaf had attempted murder, but because the children were allowed to operate the car. The children are not believed when they assert that Olaf is out to kill them.
The cinematographer is Emanuel Lubitzki; he developed each new set and the color patterns. The film is set in a timeframe which is somewhat contemporary, but timeless. Cars are obscure models which are not recognizable to the viewers. Most of the film was shot at a Paramount back lot. It began shooting in November 2003 and lasted to May of 2004. Liam Aiken grew four inches during the shoot. Despite some critical disdain and a mediocre performance at the box office; there was talk of a sequel. The children grew up and still no sequel, but there was a 3 season shot at Netflix.
This is probably not for everyone's taste. I liked this quite a bit. The wider cast was excellent and included Billy Connolly, Meryl Streep, Cedric the Entertainer, a super major star in an uncredited bit. I found the children more than up to the task, but essentially you either like Jim Carey in his various roles or you don't.
Carey is one of those film personages who elicit strong reactions. I found Count Olaf highly entertaining. his alter egos less so, but I still was amused and captivated. I understand why many have problems with the film'
you have to willing accept the story. If you stand back with the disdain of the highbrow critic; you are sure to find fault; embrace the the sly tomfoolery and you will be better able to enjoy this film.
Highly recommended.
This film covers the first three books in a well known series. Snicket is the pen name for David Handler, his day job is a drummer in a rock band. The rights to the books were purchased in 2000. There was some question about who would direct; Tim Burton was the first name mentioned, and it was rumored to be a musical. Then Barry Sonnenfeld was attached in earnest; Handler was brought on to write the script. Then Nicklelodian brought in Dreamworks for additional funding. That meant another director, Siberling, and a new principal cast. Industrial Light and Magic was confirmed as the effects shop. Most importantly Jim Carey was confirmed as the lead, the evil Count Olaf. I find his performance amazing in a very positive way. The film won its only Oscar for his make-up.
The film focuses on the three Beaudelaire children; they lose their parents in a terrible fire. Violet (Emily Browning) at 14 is one of the pre-eminent young inventors in the world. Klaus (Liam Aiken) at 13 has read more books than most scholars have in a lifetime. Sunny (Karla and Shelly Hoffman) is four, but she appears to be less than two. Her most important attribute is her enormously powerful bite. Mr. Poe (Timothy Spall) is a representative from the bank charged with finding from among the Beaudelaire relatives a suitable guardian. There seems to be no careful vetting of candidates as the first choice is Count Olaf, a failed actor with an enormous ego and very questionable morals.
The film opens with Lemony Snicket reading and writing about the plight of the Beaudelaire children and warning the readers that this story/ is not a happily after one, bad things continually happen. We never see Snicket's (Jude Law) face. Count Olaf is accepting of his duties because of the very large estate the children possess. Of course he plans to shorten his guardianship with drastic action. In the meantime the children become servants trying to make Olaf's crumbling mansion habitable. They are given a list of chores which include construction. While they are engaged with making the dwelling habitable. Olaf meets with his troupe working on a new play. He mentions late that the children are expected to make dinner. Of course there is virtually nothing available in the way of foodstuffs or pots and pans. According to Olaf, dinner should have been Roast Beef rather than Pasta Puttanesca. He has a solid way to end their lives in an apparently accidental manner. He will leave the car on the railroad tracks with the children locked inside. The rushing train will destroy the car and his occupants, and Olaf will be heir to the fortune.
Of course Olaf fails as the children team up to make a clever escape plan. Poe rescinds the guardianship, not because Olaf had attempted murder, but because the children were allowed to operate the car. The children are not believed when they assert that Olaf is out to kill them.
The cinematographer is Emanuel Lubitzki; he developed each new set and the color patterns. The film is set in a timeframe which is somewhat contemporary, but timeless. Cars are obscure models which are not recognizable to the viewers. Most of the film was shot at a Paramount back lot. It began shooting in November 2003 and lasted to May of 2004. Liam Aiken grew four inches during the shoot. Despite some critical disdain and a mediocre performance at the box office; there was talk of a sequel. The children grew up and still no sequel, but there was a 3 season shot at Netflix.
This is probably not for everyone's taste. I liked this quite a bit. The wider cast was excellent and included Billy Connolly, Meryl Streep, Cedric the Entertainer, a super major star in an uncredited bit. I found the children more than up to the task, but essentially you either like Jim Carey in his various roles or you don't.
Carey is one of those film personages who elicit strong reactions. I found Count Olaf highly entertaining. his alter egos less so, but I still was amused and captivated. I understand why many have problems with the film'
you have to willing accept the story. If you stand back with the disdain of the highbrow critic; you are sure to find fault; embrace the the sly tomfoolery and you will be better able to enjoy this film.
Highly recommended.
I should have mentioned the very strong anti war message. The end of the film has some famous scenes where
prison walls fall and fields of flowers emerge. Politically, Griffith was close to Woodrow Wilson.
YouTube has a solid version with music. That's a good choice.
prison walls fall and fields of flowers emerge. Politically, Griffith was close to Woodrow Wilson.
YouTube has a solid version with music. That's a good choice.
Hopefully my comments provided some additional information and context. One of the problems we face when we watch silent films is that they are almost a different language. I find that a musical score is a necessity for me. I haven't solved Griffith. I find that he often doesn't move me emotionally. Yet, there are some times as the scene of two little girls playing together at the very end of "Intolerance" that I find very expressive. I first saw "Intolerance" at Yale when I was a grad student. I have watched it few times since; the fact that I keep returning probably says as much about me as it does about the film. Remember the X-Files: "I want to believe." Sometimes, I believe in Griffith, and I want to believe.
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I more than remember the X-Files. I have the "I WANT TO BELIEVE" poster on the wall next to my computer. "Intolerance" was a chore for me to get through. "Birth of a Nation" was a much better picture. With all the necessary repudiation to its content, the narrative is so much cleaner, the characters are easy to identify with, they have more depth, and the cinematography is better. I even thought the BOAN Civil War battle scene was better staged while conveying scale but not overusing it. It must have terrified audiences in 1915. James Mangold said that nobody cares how big and beautiful your set is... does it advance to the story or idea of the scene? Did Griffith really need 50 people in the room for the French Story? Anyways. I alway appreciate your reviews. Thanks.
.-.
"Robocop"-Paul Verhoeven-1987
This is one of those offbeat movies that has left a lasting impression. I believe the director is largely responsible for that. This isn't the only time where Verhoeven masterminded a movie which others attempted to copy unsuccessfully. Think of "Total Recall", "Basic Instinct", and "Starship Troopers." In each case sequels were at best pale reflections of the originals. In all of these cases he was enabled by good scripts and plots based on interesting ideas; However, he knew how to choose good material and to make it come alive on the screen. The "Robocop" script bounced around Hollywood for more than 5 years. As these things go in such cases; the original names attached to a project fall by the wayside. Verhoeven was an unlikely choice; this was his first Hollywood film. He was known primarily for his Dutch film "Soldier of Orange." You probably know more about Dutch cinema than I do; you could hardly know less. It turned out that Verhoeven was a son of a bitch with a very short temper. He spent most of the filming fighting with and yelling at Rob Bottin the inventor of the robocop costume. Verhoeven didn't like the script ,his wife read the whole thing and convinced him to re-read the script which he later admitted had never finished. Verhoeven admits that he was kind of a jerk, but he knew enough to change his behavior. He hired Bottin for his next film.
I assume that most of you have seen the original; I was lead to watch "Robocop 2" and "Robocop 2014" ; there somewhat better than terrible reputations. The original is really a film worth viewing. It is filled with the little details that you find fascinating; for instance Robocop's 3 directives: "1. Serve the Public Trust; 2. Protect the Innocent, and 3. Uphold the Law." The script winks very broadly at Asimov's Three Laws of Robotics, but if you are going to borrow; borrow from the best. Of course we find out that there was an unknown 4th directive.
Detroit is undergoing a huge financial crisis; they contracted with Omni Consumer Products to run their police department. Omni has a vision of using robots as police and building a new city on the wreckage of old Detroit. The first generation of robots the ED series are designed for combat; think drones. They have many defects, but a second option is potentially available. That is an android; in this case the first prototype takes the brain of a cop and gives him an armored suit. The cop, Murphy (Peter Weller) loses a lot of himself when he emerges as Robocop. His human partner Lewis (Nancy Allen) helps him to find himself.
Neither Weller nor Allen had major movie careers, but the film boasts a distinguished group of supporting actors: Dan O'Herilhy, Ronnie Cox, Miguel Ferrar, Ray Wise, and Kirkwood Smith. In some ways the suit is the star. It cost between $500,000 and $1 million, and it was a beast to wear. Weller was losing 3 pounds a day during shooting; they finally airconditioned the suit. Special effects were tough, and Weller particularly suffered through a rigorous schedule. This is before CGI really was a thing.
There some memorable bits of dialogue, and a running joke about a terrible comedy show "I'd buy that for a dollar." There are also newsclips popping up at frequent intervals. They function well in creating an atmosphere, a reality, in which the story takes place, Still this is the story of Robocop, can he make inroads in crime, and provide a basis for a safe Detroit in the future? "Dead or Alive; you're coming with me" is only used twice in the movie, but it is memorable. It makes the point that Robocop is no nonsense law enforcement. He seems to lack emotion, humanity. The final lines in the film provide another viewpoint.
Omni Chairman: "Nice shooting son. What's your name?
Robocop: "Murphy." He has regained his consciousness of who he was and who he is.
Very Highly recommended. Available on Prime.
This is one of those offbeat movies that has left a lasting impression. I believe the director is largely responsible for that. This isn't the only time where Verhoeven masterminded a movie which others attempted to copy unsuccessfully. Think of "Total Recall", "Basic Instinct", and "Starship Troopers." In each case sequels were at best pale reflections of the originals. In all of these cases he was enabled by good scripts and plots based on interesting ideas; However, he knew how to choose good material and to make it come alive on the screen. The "Robocop" script bounced around Hollywood for more than 5 years. As these things go in such cases; the original names attached to a project fall by the wayside. Verhoeven was an unlikely choice; this was his first Hollywood film. He was known primarily for his Dutch film "Soldier of Orange." You probably know more about Dutch cinema than I do; you could hardly know less. It turned out that Verhoeven was a son of a bitch with a very short temper. He spent most of the filming fighting with and yelling at Rob Bottin the inventor of the robocop costume. Verhoeven didn't like the script ,his wife read the whole thing and convinced him to re-read the script which he later admitted had never finished. Verhoeven admits that he was kind of a jerk, but he knew enough to change his behavior. He hired Bottin for his next film.
I assume that most of you have seen the original; I was lead to watch "Robocop 2" and "Robocop 2014" ; there somewhat better than terrible reputations. The original is really a film worth viewing. It is filled with the little details that you find fascinating; for instance Robocop's 3 directives: "1. Serve the Public Trust; 2. Protect the Innocent, and 3. Uphold the Law." The script winks very broadly at Asimov's Three Laws of Robotics, but if you are going to borrow; borrow from the best. Of course we find out that there was an unknown 4th directive.
Detroit is undergoing a huge financial crisis; they contracted with Omni Consumer Products to run their police department. Omni has a vision of using robots as police and building a new city on the wreckage of old Detroit. The first generation of robots the ED series are designed for combat; think drones. They have many defects, but a second option is potentially available. That is an android; in this case the first prototype takes the brain of a cop and gives him an armored suit. The cop, Murphy (Peter Weller) loses a lot of himself when he emerges as Robocop. His human partner Lewis (Nancy Allen) helps him to find himself.
Neither Weller nor Allen had major movie careers, but the film boasts a distinguished group of supporting actors: Dan O'Herilhy, Ronnie Cox, Miguel Ferrar, Ray Wise, and Kirkwood Smith. In some ways the suit is the star. It cost between $500,000 and $1 million, and it was a beast to wear. Weller was losing 3 pounds a day during shooting; they finally airconditioned the suit. Special effects were tough, and Weller particularly suffered through a rigorous schedule. This is before CGI really was a thing.
There some memorable bits of dialogue, and a running joke about a terrible comedy show "I'd buy that for a dollar." There are also newsclips popping up at frequent intervals. They function well in creating an atmosphere, a reality, in which the story takes place, Still this is the story of Robocop, can he make inroads in crime, and provide a basis for a safe Detroit in the future? "Dead or Alive; you're coming with me" is only used twice in the movie, but it is memorable. It makes the point that Robocop is no nonsense law enforcement. He seems to lack emotion, humanity. The final lines in the film provide another viewpoint.
Omni Chairman: "Nice shooting son. What's your name?
Robocop: "Murphy." He has regained his consciousness of who he was and who he is.
Very Highly recommended. Available on Prime.
"The Usual Suspects"-Bryan Singer-1995
The title is drawn from Captain Renault's line in "Casablanca." This is one of the top rated films on IMDb, and it has a very negative review by Roger Ebert. The cast is stellar, and the script is a solo effort by Cristopher Mc Querrie. McQuerrie is associated with Tom Cruise's Mission Impossible series and Jack Reacher. Singer is associated with the X men series and some other films most recently "Bohemian Rhapsody." He has worked in TV most notably on "House."
The film was made cheaply ( 6 million) and quickly (35 days). I am going to hazard an opinion that Keyser Soze is an aspiring McGuffin. He is identified as a Turkish criminal mastermind with no scruples; he murders his own family. He is always off stage; the criminals who work for him don't even know they are working for him. He operates through middlemen. He is more than half legend.
The film opens with a confusing scene where Soze is murdering Keaton (Gabriel Byrne) aboard a burning ship in San Pedro Harbor. We quickly shift to an investigation of a hijacking of gun parts in NYC. Five criminals are assembled for a line-up. They are McManus (Stephen Baldwin), Fenster (Benacio Del Toro), Hockney (Kevin Pollock), Keaton, and Verbal Kint (Kevin Spacey). There is no evidence, and they are released. During the time they were together, a crime is planned. This crime is successful, but the emeralds need to be fenced n Los Angeles.
McManus and Fenster are partners; they are violent robbers. Hockney is an explosives expert. Keaton is a former NYC cop who was both corrupt and violent, but he is attempting to go straight. Verbal is a con man who has cerebral palsy. The scene shifts to the West Coast where Verbal has gotten a plea agreement which gives him immunity in a blood bath at the San Pedro pier where 27 people died. Verbal is subjected to another interview by Customs agent Dave Kujan (Chaz Plamentari) in the office of Jeff Ruhin (Dan Hedaya).
Kujan has been pursuing Keaton for years. Verbal tells him the story behind the debacle at the port. At the port, the FBI in the person of agent Jack Baer (Giancarlo Esposito) is investigating.
The acting is very good ;the situations are interesting even though the lot is convoluted. You need to watch this film several times to decide whether this is cinematic slight of hand or something more satisfying. Frankly, I'm still undecided. Highly recommended, available on Prime.
The title is drawn from Captain Renault's line in "Casablanca." This is one of the top rated films on IMDb, and it has a very negative review by Roger Ebert. The cast is stellar, and the script is a solo effort by Cristopher Mc Querrie. McQuerrie is associated with Tom Cruise's Mission Impossible series and Jack Reacher. Singer is associated with the X men series and some other films most recently "Bohemian Rhapsody." He has worked in TV most notably on "House."
The film was made cheaply ( 6 million) and quickly (35 days). I am going to hazard an opinion that Keyser Soze is an aspiring McGuffin. He is identified as a Turkish criminal mastermind with no scruples; he murders his own family. He is always off stage; the criminals who work for him don't even know they are working for him. He operates through middlemen. He is more than half legend.
The film opens with a confusing scene where Soze is murdering Keaton (Gabriel Byrne) aboard a burning ship in San Pedro Harbor. We quickly shift to an investigation of a hijacking of gun parts in NYC. Five criminals are assembled for a line-up. They are McManus (Stephen Baldwin), Fenster (Benacio Del Toro), Hockney (Kevin Pollock), Keaton, and Verbal Kint (Kevin Spacey). There is no evidence, and they are released. During the time they were together, a crime is planned. This crime is successful, but the emeralds need to be fenced n Los Angeles.
McManus and Fenster are partners; they are violent robbers. Hockney is an explosives expert. Keaton is a former NYC cop who was both corrupt and violent, but he is attempting to go straight. Verbal is a con man who has cerebral palsy. The scene shifts to the West Coast where Verbal has gotten a plea agreement which gives him immunity in a blood bath at the San Pedro pier where 27 people died. Verbal is subjected to another interview by Customs agent Dave Kujan (Chaz Plamentari) in the office of Jeff Ruhin (Dan Hedaya).
Kujan has been pursuing Keaton for years. Verbal tells him the story behind the debacle at the port. At the port, the FBI in the person of agent Jack Baer (Giancarlo Esposito) is investigating.
The acting is very good ;the situations are interesting even though the lot is convoluted. You need to watch this film several times to decide whether this is cinematic slight of hand or something more satisfying. Frankly, I'm still undecided. Highly recommended, available on Prime.
"Endgame"-Peter Travis-2009
This is IMO an excellent film about a very interesting subject. It is available on Prime. It is based on a book and a true story about the effort by Consolidating Mining in the person of Michael Young to find a way out of a potential civil war between the African National Congress and the Boer dominated government of the Republic of South Africa. World opinion had become increasingly condemnatory to apartheid policies, and the previously non-violent ANC had turned to an armed struggle. Most of us are at least familiar with Nelson Mandella, but this film focuses on meetings between white South Africans and representatives of the ANC in England under the auspices of a goldmining company.
There are 3 central characters: Michael Young (Jonny Lee Miller), Mbeki (Chiwetel Ejiofor), and Willie Esterhuyse (William Hurt). There was some criticism that this was too long and slow moving. I found it suspenseful and moving. In addition to the three primary characters; this film benefits from the performances of Mark Strong, Clark Peters, Derek Jacobi, and Matthew Marsh. This was made for UK TV. It had a very limited theatrical release in the US,but it was later shown on PBS.
It was filmed in South Africa and the UK. It doesn't look like a TV movie.. Perhaps it is just my perspective or personal baggage, but I think this is excellent. I found the story compelling, the background fascinating, and I liked both the complexity, and he film's willingness to provide context. This is one of my favorite hidden gems.
This is IMO an excellent film about a very interesting subject. It is available on Prime. It is based on a book and a true story about the effort by Consolidating Mining in the person of Michael Young to find a way out of a potential civil war between the African National Congress and the Boer dominated government of the Republic of South Africa. World opinion had become increasingly condemnatory to apartheid policies, and the previously non-violent ANC had turned to an armed struggle. Most of us are at least familiar with Nelson Mandella, but this film focuses on meetings between white South Africans and representatives of the ANC in England under the auspices of a goldmining company.
There are 3 central characters: Michael Young (Jonny Lee Miller), Mbeki (Chiwetel Ejiofor), and Willie Esterhuyse (William Hurt). There was some criticism that this was too long and slow moving. I found it suspenseful and moving. In addition to the three primary characters; this film benefits from the performances of Mark Strong, Clark Peters, Derek Jacobi, and Matthew Marsh. This was made for UK TV. It had a very limited theatrical release in the US,but it was later shown on PBS.
It was filmed in South Africa and the UK. It doesn't look like a TV movie.. Perhaps it is just my perspective or personal baggage, but I think this is excellent. I found the story compelling, the background fascinating, and I liked both the complexity, and he film's willingness to provide context. This is one of my favorite hidden gems.
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Dr. No. 1962.
This is the film that spawned a million sequels. It set off the secret agent film (and TV) craze in the 60s, and, of course, it created the Bond phenomenon and all the subsequent Bond spoofs and knockoffs. It has to be considered one of the most important films in the history of cinema for the billions of dollars of production that it unleashed.
Dr. No also made a star of a relatively unknown Scottish actor named Sean Connery. Connery's recent death prompted me to re-watch this movie. His legendary career probably doesn't happen without this film. His performance as the British super secret agent with a gleam in his eye is pitch perfect. The blend of macho, charm and humor are still irresistible to audiences 60 years later.
You probably know the formula created in Dr. No (with a few teaks and additions). Bond goes to a exotic local filled with danger around every corner. Meets a beautiful woman. Infiltrates the lair of a brilliant yet insane villain. Gets caught. Escapes. Foils the villain's plan with everything in sight getting blown to smithereens.
In my recent viewing, I was very impressed with the cinematography of Dr. No. It is very simple and clean. Framed beautiful. The fast paced cutting of the action sequences works really well. It does not look or feel like an old movie. Worth noting, the 26-year old Ursula Andress still produces the desired effect.
The plot is that the evil Dr. No, in the employ of the Chinese, is using radio waves, from a hidden location in Jamaican, to sabotage rockets launched from Cape Canaveral. It's a fun ride. It's also a peek at the great grandfather of many of the movies you have watched in your life.
This is the film that spawned a million sequels. It set off the secret agent film (and TV) craze in the 60s, and, of course, it created the Bond phenomenon and all the subsequent Bond spoofs and knockoffs. It has to be considered one of the most important films in the history of cinema for the billions of dollars of production that it unleashed.
Dr. No also made a star of a relatively unknown Scottish actor named Sean Connery. Connery's recent death prompted me to re-watch this movie. His legendary career probably doesn't happen without this film. His performance as the British super secret agent with a gleam in his eye is pitch perfect. The blend of macho, charm and humor are still irresistible to audiences 60 years later.
You probably know the formula created in Dr. No (with a few teaks and additions). Bond goes to a exotic local filled with danger around every corner. Meets a beautiful woman. Infiltrates the lair of a brilliant yet insane villain. Gets caught. Escapes. Foils the villain's plan with everything in sight getting blown to smithereens.
In my recent viewing, I was very impressed with the cinematography of Dr. No. It is very simple and clean. Framed beautiful. The fast paced cutting of the action sequences works really well. It does not look or feel like an old movie. Worth noting, the 26-year old Ursula Andress still produces the desired effect.
The plot is that the evil Dr. No, in the employ of the Chinese, is using radio waves, from a hidden location in Jamaican, to sabotage rockets launched from Cape Canaveral. It's a fun ride. It's also a peek at the great grandfather of many of the movies you have watched in your life.
"Men of Honor"-George Tillman Jr.-2000
Tillman is a solid director: "The Hate You Give," "The Longest Ride", "Notorious", and "Soul Food." This film was a moderate success, 32 million budget and 82.3 million WWG. We have to remember that entertainment is a business, and I'm wondering if the movie business will survive Covid in anything like its current form. Still this is a forgotten film. There are two eye-catching performances Cuba Gooding as Carl Brashear and Robert De Niro as Master Chief Billy Sunday. Brashear becomes the first Afro American Navy diver. While finding a lost atomic bomb and having his team salvage it; he is involved in a deck accident. One leg is so severely damaged that it appears as if he will never dive again.
Of course the backstory of how he came to that point is crucial. He is the child of sharecroppers, but he has always had a dream of enlisting in the Navy and becoming a diver. He finally makes it to Navy Diving School, and he comes to know his nemesis, Master Chief Sunday. Sunday is an out and out racist who does his best to force Brashear out. The character is a composite of two separate individuals. Sunday resurfaces after Brashear"s injuries. Brashear has his leg amputated after reading an article about how pilots returned to full service after an amputation.
The DVD has a short feature where we get to meet the historical Carl Brashear. I'm a sucker for triumph over adversity stories. This is one of the best. His wife asked him: "Why do you want this so bad?" He replied: "Because they said I couldn't have it." This is "Hidden Figures" before its time.
Highly recommended.
Tillman is a solid director: "The Hate You Give," "The Longest Ride", "Notorious", and "Soul Food." This film was a moderate success, 32 million budget and 82.3 million WWG. We have to remember that entertainment is a business, and I'm wondering if the movie business will survive Covid in anything like its current form. Still this is a forgotten film. There are two eye-catching performances Cuba Gooding as Carl Brashear and Robert De Niro as Master Chief Billy Sunday. Brashear becomes the first Afro American Navy diver. While finding a lost atomic bomb and having his team salvage it; he is involved in a deck accident. One leg is so severely damaged that it appears as if he will never dive again.
Of course the backstory of how he came to that point is crucial. He is the child of sharecroppers, but he has always had a dream of enlisting in the Navy and becoming a diver. He finally makes it to Navy Diving School, and he comes to know his nemesis, Master Chief Sunday. Sunday is an out and out racist who does his best to force Brashear out. The character is a composite of two separate individuals. Sunday resurfaces after Brashear"s injuries. Brashear has his leg amputated after reading an article about how pilots returned to full service after an amputation.
The DVD has a short feature where we get to meet the historical Carl Brashear. I'm a sucker for triumph over adversity stories. This is one of the best. His wife asked him: "Why do you want this so bad?" He replied: "Because they said I couldn't have it." This is "Hidden Figures" before its time.
Highly recommended.
"A Day at the Races"-Sam Wood-1937
This film is often called the last good or great Marx Brother's film. If you accept that, the major reason for this is the death of Irving Thalberg. He brought them to MGM, and he devised a format where the Marx Brothers could thrive in the studio system MGM model. This meant a subsidiary plot line with young lovers and musical numbers. Thalberg encouraged the brothers to try out their comedy sketches in the road before live audiences.
The Marx Brothers thrived under this system. Thalberg, always in fragile health, caught a cold and died of pneumonia well before the film was finished. Groucho often said he lost his taste for making movies after Thalberg's death. He was in his thirties. Future Marx Brothers' films were made very cheaply.
That left the brothers under the direction of Sam Wood. He often shot a dozen or more re-takes of the simplest scenes. He really disliked Graucho who constantly needled him. There was a famous exchange, at least in story,
where Wood said: "You Can't make an actor out of clay." Groucho countered :"You can't make a director out of wood."
There are several classic sketches: the Toositee Fruity ice cream cart, Chico and Harpo both play piano, but Harpo destroys the piano to create a harp, and a weird medical examination of Margaret Dumont. There are also some classic lines" "If I held you any closer' I'll be in back of you;" "It's the same old story, boy meets girl,Romeo and Juliet, Minneapolis and St. Paul", and "Don'tdrink that poison; it's$4 an ounce."
Alan Hale appears as the boyfriend of Maureen O'Sullivan who owns a failing sanitarium which employs Chico. Hale owns a race horse with Harpo as the jockey. A horse doctor, Dr. Hugo Z. Hackenbush (Groucho)
comes from Florida at the urging of Margaret Dumont to head the sanitarium's staff.
The length and quality of the musical interludes is an obstacle for some critics. There is even a blackface number, but that song "All God's Children Got Rhythm" is excellent. Marx Brother's fans are prone to mourn the demise of Thalberg. Still there is enough quality here to make this well worth viewing. The DVD has very solid extras. This has several free streaming options available. Highly recommended.
This film is often called the last good or great Marx Brother's film. If you accept that, the major reason for this is the death of Irving Thalberg. He brought them to MGM, and he devised a format where the Marx Brothers could thrive in the studio system MGM model. This meant a subsidiary plot line with young lovers and musical numbers. Thalberg encouraged the brothers to try out their comedy sketches in the road before live audiences.
The Marx Brothers thrived under this system. Thalberg, always in fragile health, caught a cold and died of pneumonia well before the film was finished. Groucho often said he lost his taste for making movies after Thalberg's death. He was in his thirties. Future Marx Brothers' films were made very cheaply.
That left the brothers under the direction of Sam Wood. He often shot a dozen or more re-takes of the simplest scenes. He really disliked Graucho who constantly needled him. There was a famous exchange, at least in story,
where Wood said: "You Can't make an actor out of clay." Groucho countered :"You can't make a director out of wood."
There are several classic sketches: the Toositee Fruity ice cream cart, Chico and Harpo both play piano, but Harpo destroys the piano to create a harp, and a weird medical examination of Margaret Dumont. There are also some classic lines" "If I held you any closer' I'll be in back of you;" "It's the same old story, boy meets girl,Romeo and Juliet, Minneapolis and St. Paul", and "Don'tdrink that poison; it's$4 an ounce."
Alan Hale appears as the boyfriend of Maureen O'Sullivan who owns a failing sanitarium which employs Chico. Hale owns a race horse with Harpo as the jockey. A horse doctor, Dr. Hugo Z. Hackenbush (Groucho)
comes from Florida at the urging of Margaret Dumont to head the sanitarium's staff.
The length and quality of the musical interludes is an obstacle for some critics. There is even a blackface number, but that song "All God's Children Got Rhythm" is excellent. Marx Brother's fans are prone to mourn the demise of Thalberg. Still there is enough quality here to make this well worth viewing. The DVD has very solid extras. This has several free streaming options available. Highly recommended.
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