Films Worth Viewing

[zymurg]

"The Blue Angel"-Josef von Sternberg-1930

Von Sternberg is generally considered to be a German director. That is wrong on several counts. He was of Austrian descent, but he was born in the US. He served in the American Army in the first World War. His entry into the film business was in the US, specifically Fort Lee, NJ. This was a film center at the time. He made several important films in the silent era. "Last Command" starred Emil Jannings who won the Oscar. We've gone over how WWI changed the international film industry. It was not totally surprising that a German film company reached out to this immigrant to make the first German sound film. The added benefit was that they could simultaneously film both German and English versions.

The story came from an obscure work of Heinrich Mann, the great German novelist. A bevy of writers worked on the script; von Sternberg wanted sole writing credit; he received no writing credit. Sternberg was a proponent of the "auteur" theory of film-making before it was developed by French intellectuals. He needed to control everything. This brought him into conflict with actors; in this film with Emil Jannings Professor Immanuel Rath.

Jannings wanted another actress to play Lola Lola. Sternberg chose Marlene Dietrich who at the time wasn't well known and didn't speak English. She also wasn't known for her singing. She had a very limited vocal range, but almost magically Friedrich Hollander the composer/song writer wrote songs in her limited range. Dietrich was amazing. "Falling in Love Again" is certainly one of the top five film songs in history. Lola Lola is the star of a group of traveling performers. She is a singer/dancer in a tawdry stage show with a female chorus, clowns, and a magician. When the film opens they are performing at "The Blue Angel." We see a Lola Lola poster in a window and a cleaning woman poses trying to re-create Lola's sex appeal. Meanwhile, Professor Rath is preparing for his teaching job. He is a professor of English in a local secondary school. He tries whistling to his caged bird, but it doesn't respond. The bird is dead, and his housekeeper discards the body in the stove. The professor's first class is at eight o'clock. We see an elaborate clock where figures rotate marking the hour with the chimes. Rath discovers a postcard being passed around. It features Lola Lola in a feathered skirt, When you blow on the postcard; the skirt comes up. Rath confiscates the card,and he finds that the performer in question is appearing at the "Blue Angel." Rath goes there to remove his students from the pernicious influence.

Of course Rath falls in love/adoration with Lola Lola. He loses his job, marries her. The job loss is a result of his spending a night in Lola Lola's rooms. He is awakened by a caged bird singing. After the marriage Rath ends up selling those postcards with the feather skirts. Rath continues to deteriorate. In the end of the film we see him in a clown costume preparing to go on stage as the magician's foil. This final degredation breaks
him down totally. He leaves the club and goes back to his old school. He dies with the clock (unseen) tolling out eight o'clock.

After he leaves the club Lola Lola reprises "Falling in Love Again." This time the wistfulness is gone; there is an almost brutal edge to this rendition. "Falling in love again, never wanted to. What's a girl to do? I can't help it. ...Men swarm around me like moths round a flame. And if their wings singed, surely I can't be blamed."

The film did well in the German market, but the English language version flopped. Dietrich and Sternberg came to America. This was a famous illicit romance. They made a half dozen films together. 'Morocco" was released in the US before "Blue Angel." By the time of "Shanghai Express" , Dietrich had remade herself; she was thinner, blonder, and her accented English was superb. This is considered by many critics to be a masterpiece. I was surprised that with all the problems in the transfers; this is still a remarkable film. I found Jannings arresting; and Dietrich had that ineffable star quality; you are drawn to her, just as Rath was in the movie. Jannings stayed in Germany and became a Nazi film icon. Kurt Geron (the magician) was a Jew and he was gassed in a camp. Sternberg's creative peak was in the '30's; he ran afoul of Ernst Lubitsch who oversaw films at Paramount for a year. Sternberg lost control of his pictures. Dietrich made dozens of films and had a major second career as a singer. She has been the subject of multiple documentaries, the most famous one directed by Max Schell.

This is a true classic. The only problem is that it is difficult to find. For some reason unknown to me Criterion has never done a version. There is a handsome and expensive box of all the other Sternberg/Dietrich films. I watched the streaming English language version; the German language version with subtitles is preferred because most of the cast is hard to understand in English. Fortunately, this isn't a dialogue heavy film. Watch this film any way you can.

 

[dbmill]

"The Blue Angel"-Josef von Sternberg-1930

Von Sternberg is generally considered to be a German director. That is wrong on several counts. He was of Austrian descent, but he was born in the US. He served in the American Army in the first World War. His entry into the film business was in the US, specifically Fort Lee, NJ. This was a film center at the time. He made several important films in the silent era. "Last Command" starred Emil Jannings who won the Oscar. We've gone over how WWI changed the international film industry. It was not totally surprising that a German film company reached out to this immigrant to make the first German sound film. The added benefit was that they could simultaneously film both German and English versions.

The story came from an obscure work of Heinrich Mann, the great German novelist. A bevy of writers worked on the script; von Sternberg wanted sole writing credit; he received no writing credit. Sternberg was a proponent of the "auteur" theory of film-making before it was developed by French intellectuals. He needed to control everything. This brought him into conflict with actors; in this film with Emil Jannings Professor Immanuel Rath.

Jannings wanted another actress to play Lola Lola. Sternberg chose Marlene Dietrich who at the time wasn't well known and didn't speak English. She also wasn't known for her singing. She had a very limited vocal range, but almost magically Friedrich Hollander the composer/song writer wrote songs in her limited range. Dietrich was amazing. "Falling in Love Again" is certainly one of the top five film songs in history. Lola Lola is the star of a group of traveling performers. She is a singer/dancer in a tawdry stage show with a female chorus, clowns, and a magician. When the film opens they are performing at "The Blue Angel." We see a Lola Lola poster in a window and a cleaning woman poses trying to re-create Lola's sex appeal. Meanwhile, Professor Rath is preparing for his teaching job. He is a professor of English in a local secondary school. He tries whistling to his caged bird, but it doesn't respond. The bird is dead, and his housekeeper discards the body in the stove. The professor's first class is at eight o'clock. We see an elaborate clock where figures rotate marking the hour with the chimes. Rath discovers a postcard being passed around. It features Lola Lola in a feathered skirt, When you blow on the postcard; the skirt comes up. Rath confiscates the card,and he finds that the performer in question is appearing at the "Blue Angel." Rath goes there to remove his students from the pernicious influence.

Of course Rath falls in love/adoration with Lola Lola. He loses his job, marries her. The job loss is a result of his spending a night in Lola Lola's rooms. He is awakened by a caged bird singing. After the marriage Rath ends up selling those postcards with the feather skirts. Rath continues to deteriorate. In the end of the film we see him in a clown costume preparing to go on stage as the magician's foil. This final degredation breaks
him down totally. He leaves the club and goes back to his old school. He dies with the clock (unseen) tolling out eight o'clock.

After he leaves the club Lola Lola reprises "Falling in Love Again." This time the wistfulness is gone; there is an almost brutal edge to this rendition. "Falling in love again, never wanted to. What's a girl to do? I can't help it. ...Men swarm around me like moths round a flame. And if their wings singed, surely I can't be blamed."

The film did well in the German market, but the English language version flopped. Dietrich and Sternberg came to America. This was a famous illicit romance. They made a half dozen films together. 'Morocco" was released in the US before "Blue Angel." By the time of "Shanghai Express" , Dietrich had remade herself; she was thinner, blonder, and her accented English was superb. This is considered by many critics to be a masterpiece. I was surprised that with all the problems in the transfers; this is still a remarkable film. I found Jannings arresting; and Dietrich had that ineffable star quality; you are drawn to her, just as Rath was in the movie. Jannings stayed in Germany and became a Nazi film icon. Kurt Geron (the magician) was a Jew and he was gassed in a camp. Sternberg's creative peak was in the '30's; he ran afoul of Ernst Lubitsch who oversaw films at Paramount for a year. Sternberg lost control of his pictures. Dietrich made dozens of films and had a major second career as a singer. She has been the subject of multiple documentaries, the most famous one directed by Max Schell.

This is a true classic. The only problem is that it is difficult to find. For some reason unknown to me Criterion has never done a version. There is a handsome and expensive box of all the other Sternberg/Dietrich films. I watched the streaming English language version; the German language version with subtitles is preferred because most of the cast is hard to understand in English. Fortunately, this isn't a dialogue heavy film. Watch this film any way you can.

The German language version of The Blue Angel shows up every once in a while on Turner Classic Movies. I saw it several years ago, no question it turned Dietrich into a star. Definitely worth watching just for that alone.

 

[zymurg]

"Miracle Woman"-Frank Capra-1931

It is time to discuss the Motion Pictures Production Code. The heads of the major studios feared government regulation, so they attempted to self regulate. However, serious regulation didn't come until mid 1934. We often think of the code denying the ability of film makers to portray even the simplest potential references to sex. Even a married couples had to sleep in separate beds is one of the more notable limits. However, it also practically eliminated criticism of foreign governments. There were several Hollywood films in 1938 critical of the Nazi's which were denied licenses .

"The Blue Angel" is one of the most famous pre-code pictures which showed an attitude to sex which was not possible after the strict enforcement of the code. "Miracle Woman" touched on another tabu subject, religion
Barbara Stanwyck portrays Florence Fallon a revivalist preacher with services carried on radio. It is an adaptation of a failed Broadway play. It is based on the life/career of Amy Semple McPherson a hugely successful California preacher. Miracle cures are part of the tent show. They are fakes; they are shills employed by Bob Hornsby (Sam Hardy). He found Florence at her lowest ebb; her father had just died while dictating his weekly sermon.
She appears before the congregation and delivers what her father had written. Then she switches to an angry
denunciation of the congregation. Hornsby is sitting in the pews, and he is very interested. This young woman can be marketed.

This religious business has been successful. A blind former pilot hears her sermon over the radio, and he comes back from the brink of suicide. John Carson (David Manners) and Florence develop a relationship.
The balance of the picture deals with the conflict between the relationship and the religious con business.
Capra in his autobiography admits that he pulled back from full on confrontation with revival style religion.

Not only was this made in the pre-code era, but it was the pre-special effects era. The lions are real and the fire which burns the revival hall is real. Stanwyck literally was in the lions den, and Capra literally carried her
away from the fire. The Turner Classic DVD edition has some decent extras including a short with Ron Howard discussing this film. It's available for free streaming. Worth viewing particularly for Stanwyck.

 

[zymurg]

"No Turn Left Unstoned"-1995 "The Pretenders With Friends (Live)"2006

I was feeling a little out of sorts, so I decided to take Pretenders day. That consisted of watching "The Pretenders Greatest Hits" which is the DVD containing 20 music videos from 1979 through 1999. It includes two singles by Chrissie Hynde with UB40. "I've Got You Babe" was directed by Jonathan Demme. This hard to find and pretty expensive, only used copies are available now; however it includes the documentary "No Turn Left Unstoned." This is cleverly done cuts of an interview with Hynde appear among comments by friends and musical associates and short cuts of songs. This is probably streaming somewhere. Well worth viewing.

I also recommend Hynde's autobiography "My Life As a Pretender" 2015. She arrived in England in 1973 and worked as a writer for" New Musical Express" a weekly journal of the British Pop music scene. She became involved in the punk movement, but after several tries in different bands; she formed her own band writing her own music. The demo tape was sent around. It was listened to by many producers. Finally, she got her contract with a group named "The Pretenders." This is a reference The Platter's song "The Great Pretender."
The first single, produced by Nick Lowe, was "Stop Your Sobbing" a Kinks album cut. It did well in Britain. It was followed up by "Kid." The third single, "Brass in Pocket", hit #1 in the UK and made top 20 in the US. The original group was James Honeyman Scott, Peter Farandon, and Martin Chambers. The first album reached #1 in the UK and top 20 in the US. Those who know something about the group know that both Farandon and Scott died early and with drug involvement.

Hynde has an exceptional rock voice and she is also a top songwriter. Her lyrics can be particularly cutting; for instance: "We are all of us in the gutter, but some of us are looking at the stars." She has been the only constant in various line-ups called "The Pretenders." They were inducted into the Hall of Fame in 2005. The second selection is a live concert from 2006 in Atlantic City . It features a number of guest stars including Iggy Pop. Hynde was mid fifties when this was made. Don't expect a "Stop Making Sense", but the music goes from good to compelling. This is streaming free on Amazon Prime.

I highly recommend "No Turn Left Unstoned," the autobiography, and "The Pretenders Greatest Hits." The "With Friends" is decent and more if you are a fan.

 

[zymurg]

"Seven Years in Tibet"-Jean-Jacques Arnaud-1997

The film is based on the book with the same title by Heinrich Harrer. John Williams wrote the score. There is an almost second score which features a variety of Tibetan chants and songs performed by monks. In the Western score Yo Yo Ma is featured playing his cello. The score reflects the division in the movie. When Harrer arrived in Tibet during WWII; foreigners were banned from Tibet. When Harrer left, Communist China had crushed independent Tibet and had begun the process of absorbing Tibet. This cost a million lives and limited the religion. The 14th Dalai Lama escaped to India in 1959. Harrer is the viewers way in to help understand the culture and religion of Tibet.

Harrer (Brad Pitt) was both a world class skier and mountain climber. He was also a member of the Nazi Party.
It isn't clear if he was an ideologue or just someone who joined the party for advantages that membership provided. Importantly the Dali Lama didn't repudiate him after his backstory came out. Harrer was a self-centered jerk in the begining of the movie. This in contrast with Peter Aufschnaiter (David Thewlis) the leader of the expedition to climb a Himalayan peak. They failed and they were scooped up by the Indian army and interred as enemy citizens at the start of World War II. After multiple failed attempts Herrer escapes along with Peter Aufschnaiter. They finally reach Tibet and both men undergo transformations. Peter marries a Tibetan woman, and Herrer becomes involved with the young Dali Lama.

The Dali Lama (Janyang Jantsho Wagchuck) is a bright, curious 14 year old. Herrer becomes an informal tutor and builder for the holy one. Harrer is changed by the association; he becomes a better more caring person. He attempts to convince the Dali Lama to leave Tibet when the Chinese Communists invade. He stays until 1959 until he escapes to India.

This is beautifully filmed; Annaud filmed in multiple countries including secret filming in Tibet. This is a huge
expensive production which did okay at the box office. The base story is compelling. Without Pitt's participation, the film wouldn't have been made. His acting has been criticized, but I didn't find it distracting.
The transition Herrer undergoes is well handled. This is a film which is well worth watching, but I can't ignore the little voice in my head which tells me that it could have been much better. I'm not sure that is fair because making a film like this involves huge problems. Still when I compare it to Attenborough's "Gandhi", I have to believe more could have been done.

 

[dbmill]

"No Turn Left Unstoned"-1995 "The Pretenders With Friends (Live)"2006

I was feeling a little out of sorts, so I decided to take Pretenders day. That consisted of watching "The Pretenders Greatest Hits" which is the DVD containing 20 music videos from 1979 through 1999. It includes two singles by Chrissie Hynde with UB40. "I've Got You Babe" was directed by Jonathan Demme. This hard to find and pretty expensive, only used copies are available now; however it includes the documentary "No Turn Left Unstoned." This is cleverly done cuts of an interview with Hynde appear among comments by friends and musical associates and short cuts of songs. This is probably streaming somewhere. Well worth viewing.

I also recommend Hynde's autobiography "My Life As a Pretender" 2015. She arrived in England in 1973 and worked as a writer for" New Musical Express" a weekly journal of the British Pop music scene. She became involved in the punk movement, but after several tries in different bands; she formed her own band writing her own music. The demo tape was sent around. It was listened to by many producers. Finally, she got her contract with a group named "The Pretenders." This is a reference The Platter's song "The Great Pretender."
The first single, produced by Nick Lowe, was "Stop Your Sobbing" a Kinks album cut. It did well in Britain. It was followed up by "Kid." The third single, "Brass in Pocket", hit #1 in the UK and made top 20 in the US. The original group was James Honeyman Scott, Peter Farandon, and Martin Chambers. The first album reached #1 in the UK and top 20 in the US. Those who know something about the group know that both Farandon and Scott died early and with drug involvement.

Hynde has an exceptional rock voice and she is also a top songwriter. Her lyrics can be particularly cutting; for instance: "We are all of us in the gutter, but some of us are looking at the stars." She has been the only constant in various line-ups called "The Pretenders." They were inducted into the Hall of Fame in 2005. The second selection is a live concert from 2006 in Atlantic City . It features a number of guest stars including Iggy Pop. Hynde was mid fifties when this was made. Don't expect a "Stop Making Sense", but the music goes from good to compelling. This is streaming free on Amazon Prime.

I highly recommend "No Turn Left Unstoned," the autobiography, and "The Pretenders Greatest Hits." The "With Friends" is decent and more if you are a fan.

The first Pretenders albums was a big favorite of mine. Learning to Crawl is very good as well, too bad half the band was dead by that time.

 

[dbmill]

"The Thing From Another World"-Christian Nyby 1951

This is one of a half dozen significant films with science fiction or scientific/horror themes which were released in the '50's. We discussed "The Invasion of the Body Snatchers." Most of the best of these films were re-made; The Thing had a John Carpenter re-make which many of you have probably seen. This is the original. It was an RKO picture; they weren't known for quality productions. It is widely considered that Howard Hawks, the producer, had an outsized interest in the film. This has a cast of unknowns, but they do a more than competent job. This isn't filled with special effects. It holds up remarkably well; that is primarily due to the quality story and well constructed characterizations.

There was a large a large scientific team at the North Pole. They were supported by the US Air Force. Several disturbing messages from the Pole are received at the Air force base in Anchorage. A team is sent to investigate which includes a visiting journalist. It turns out that a flying saucer has landed/crashed close to the polar scientific site. It is embedded in the ice. The team develops a plan to get the saucer out of the ice. They use thermite bombs, but they cause the saucer to explode. This makes visible a body encased in ice. The balance of the film develops the story of results of freeing the body from the ice.

Google the film, and you will find several streaming options including archive.org. I will refrain from disclosing more of the plot, but this one is well worth your time particularly if you are interested in sci fi films. Highly recommended.

Turner Classic Movies is showing this movie Monday night at 10:15pm.

 

[zymurg]

Blow-up-Michelangelo Antonioni-1966

This is a film which is out of fashion today. It is still studied in film schools, but even in film societies it has become a rarity. In its day it was one of the most influential films ever made. This was Antonioni's first English language and his second in color. It was adapted from a short story by Antonioni. He picked Herb Hancock to do the score, but the score is almost non-existent. The action isn't taking place over a musical background. The principal characters aren't even properly named. "What's in a name?...A rose by any other name would smell as sweet?" In stories the mere knowledge of the true name gives one power.

In Western culture our plays, novels, and yes even our stories follow certain rules. They have a starting point, a middle, and a conclusion. Normally time progresses from here to there in the story. We have flashbacks sometimes, but even then they are somehow within the basic story. We normally have a protagonist, and the story is told from his point of view some times, and in others we are observing him. Of course even on this planet there are other conventions in storytelling.

A famous fashion photographer in '60's London is working on a photographic book which shows how the poorest live. He has been staying overnite in homeless shelters or "doss houses" to Brits. He has been secretly filming the inhabitants. A large vehicle careens around the streets; it is filled with noisy college students out on a "rag"; in costume they go out to collect money for charity. Our protagonist gives them some money and goes to work. His studio is also his home. He is late, but everyone has to wait for him. David Hemmings plays the lead role. He certainly is no hero, but the story, such as it is, is told from his perspective. He first photographs one of the 60's iconic fashion models, Verushka, never using her name. One of the iconic images in the film is Verushka writhing on the floor with Hemmings straddling her while he snaps his camera. Next he moves to photographing a group of models; he treats them like crap. After a short session in glass enclosed spaces; he leaves them. He doesn't tell them that the session is ended.

He drives his Rolls Royce to a dilapidated antiques shop. We find out that he is thinking about buying the shop. He then drives to the park. It is here that he photographs a couple. He doesn't tell them what he is doing he just takes the pictures. The young woman discovers him. She wants the film of her interacting affectionately with a distinguished older man. Hemmings brushes her off.

This provides with the central material to develop the rest of the story. In the process of developing and enlarging these shots from the park; the photographer uncovers something not visible to the naked eye. He finds someone holding a gun. Has he prevented a murder, that is his first thought. As he further manipulates the film;he finds a corpse. The young woman appears at his studio before he has made his discoveries. She wants the film. Hemmings gives her an empty roll; Vanessa Redgrave gives him a false phone number.

The audience is led to believe that the photographer has uncovered a hidden reality. That reality is a murder committed in the park. The viewers are trying to create a story along with Hemmings. Would what we see on the screen make more sense if we were to use another template of story-telling? In many ways what we see is not synoptic. Many scenes including Hemmings observing his neighbors making love, a strange rock concert with zombie like fans, a sexual romp with aspiring models, and an imaginary tennis game with the students now made up as mimes have no relationship with what we have been led to believe is the central story. In Sanskrit drama for example "Shakuntala" by Kalidasa the emphasis is not on a synoptic storyline leading to a conclusion, but on the "rasa" the flavor of the moment. Each of the previously mentioned scenes
is a vignette confirming Hemmings distance from others in the scene. Hemmings doesn't connect with the other people. For instance in the rock concert, at the rock concert a guitar is demolished and the neck is thrown into the audience. Hemmings struggles with the suddenly animated fans. He escapes with this wondrous souvenir, but once he eludes the fans; he assesses it is worthless. He throws it away, a man on the street picks it up, examines it then throws it away.

His studio is trashed and all the photographs are stolen save one which shows? the body. How will Hemmings confirm what he has found on the film? He wants to bring his book editor along to confirm what he has discovered. This leads him to a 60's party; there is drug use a lot of drug use. His editor is out of it, so he will be useless as a witness. Verushka is at the party. Hemings asks her: "Weren't you supposed to be in Paris/" She replies: "I am in Paris." Hemmings goes out alone and views the body of the distinguished gentleman. Unfortunately, he is without his camera. He sees the body. The next morniing he returns with camera, but the body is no longer there. The students arrive and they begin a mime tennis match. Hemmings watches, becomes involved, and throws back an imaginary ball. The camera shoots him from above he becomes smaller and smaller; finally he is vanished.

I saw this with a group of friends in a Theater. Fifty years later I re-visited this film. I watched it twice, once with a commentary. I read some background materials. If you choose to view this film; read Roger Ebert's review at Ebert.com. I don't agree with everything there, but it makes sense of the film. Recommended for those who are interested in film history. This is not a film I will be returning to; yet, I still remembered some of the images clearly for fifty years.

 

[dbmill]

Blow-up-Michelangelo Antonioni-1966

This is a film which is out of fashion today. It is still studied in film schools, but even in film societies it has become a rarity. In its day it was one of the most influential films ever made. This was Antonioni's first English language and his second in color. It was adapted from a short story by Antonioni. He picked Herb Hancock to do the score, but the score is almost non-existent. The action isn't taking place over a musical background. The principal characters aren't even properly named. "What's in a name?...A rose by any other name would smell as sweet?" In stories the mere knowledge of the true name gives one power.

In Western culture our plays, novels, and yes even our stories follow certain rules. They have a starting point, a middle, and a conclusion. Normally time progresses from here to there in the story. We have flashbacks sometimes, but even then they are somehow within the basic story. We normally have a protagonist, and the story is told from his point of view some times, and in others we are observing him. Of course even on this planet there are other conventions in storytelling.

A famous fashion photographer in '60's London is working on a photographic book which shows how the poorest live. He has been staying overnite in homeless shelters or "doss houses" to Brits. He has been secretly filming the inhabitants. A large vehicle careens around the streets; it is filled with noisy college students out on a "rag"; in costume they go out to collect money for charity. Our protagonist gives them some money and goes to work. His studio is also his home. He is late, but everyone has to wait for him. David Hemmings plays the lead role. He certainly is no hero, but the story, such as it is, is told from his perspective. He first photographs one of the 60's iconic fashion models, Verushka, never using her name. One of the iconic images in the film is Verushka writhing on the floor with Hemmings straddling her while he snaps his camera. Next he moves to photographing a group of models; he treats them like crap. After a short session in glass enclosed spaces; he leaves them. He doesn't tell them that the session is ended.

He drives his Rolls Royce to a dilapidated antiques shop. We find out that he is thinking about buying the shop. He then drives to the park. It is here that he photographs a couple. He doesn't tell them what he is doing he just takes the pictures. The young woman discovers him. She wants the film of her interacting affectionately with a distinguished older man. Hemmings brushes her off.

This provides with the central material to develop the rest of the story. In the process of developing and enlarging these shots from the park; the photographer uncovers something not visible to the naked eye. He finds someone holding a gun. Has he prevented a murder, that is his first thought. As he further manipulates the film;he finds a corpse. The young woman appears at his studio before he has made his discoveries. She wants the film. Hemmings gives her an empty roll; Vanessa Redgrave gives him a false phone number.

The audience is led to believe that the photographer has uncovered a hidden reality. That reality is a murder committed in the park. The viewers are trying to create a story along with Hemmings. Would what we see on the screen make more sense if we were to use another template of story-telling? In many ways what we see is not synoptic. Many scenes including Hemmings observing his neighbors making love, a strange rock concert with zombie like fans, a sexual romp with aspiring models, and an imaginary tennis game with the students now made up as mimes have no relationship with what we have been led to believe is the central story. In Sanskrit drama for example "Shakuntala" by Kalidasa the emphasis is not on a synoptic storyline leading to a conclusion, but on the "rasa" the flavor of the moment. Each of the previously mentioned scenes
is a vignette confirming Hemmings distance from others in the scene. Hemmings doesn't connect with the other people. For instance in the rock concert, at the rock concert a guitar is demolished and the neck is thrown into the audience. Hemmings struggles with the suddenly animated fans. He escapes with this wondrous souvenir, but once he eludes the fans; he assesses it is worthless. He throws it away, a man on the street picks it up, examines it then throws it away.

His studio is trashed and all the photographs are stolen save one which shows? the body. How will Hemmings confirm what he has found on the film? He wants to bring his book editor along to confirm what he has discovered. This leads him to a 60's party; there is drug use a lot of drug use. His editor is out of it, so he will be useless as a witness. Verushka is at the party. Hemings asks her: "Weren't you supposed to be in Paris/" She replies: "I am in Paris." Hemmings goes out alone and views the body of the distinguished gentleman. Unfortunately, he is without his camera. He sees the body. The next morniing he returns with camera, but the body is no longer there. The students arrive and they begin a mime tennis match. Hemmings watches, becomes involved, and throws back an imaginary ball. The camera shoots him from above he becomes smaller and smaller; finally he is vanished.

I saw this with a group of friends in a Theater. Fifty years later I re-visited this film. I watched it twice, once with a commentary. I read some background materials. If you choose to view this film; read Roger Ebert's review at Ebert.com. I don't agree with everything there, but it makes sense of the film. Recommended for those who are interested in film history. This is not a film I will be returning to; yet, I still remembered some of the images clearly for fifty years.

Funny thing, I recall watching Blowup on television when I was a kid before I went to college, I think it was shown by one of the major networks. 40 or 50 years later I recall virtually nothing about the film, but I do remember that at the time and for several years later I was somewhat mesmerized by the images that come across in this film. I haven't really thought about Blowup for a number of years now. However, thinking about now because of this review, I realize that for me it was an early excursion into the world of cinema.

 

[dbmill]

"The Thing From Another World"-Christian Nyby 1951

This is one of a half dozen significant films with science fiction or scientific/horror themes which were released in the '50's. We discussed "The Invasion of the Body Snatchers." Most of the best of these films were re-made; The Thing had a John Carpenter re-make which many of you have probably seen. This is the original. It was an RKO picture; they weren't known for quality productions. It is widely considered that Howard Hawks, the producer, had an outsized interest in the film. This has a cast of unknowns, but they do a more than competent job. This isn't filled with special effects. It holds up remarkably well; that is primarily due to the quality story and well constructed characterizations.

There was a large a large scientific team at the North Pole. They were supported by the US Air Force. Several disturbing messages from the Pole are received at the Air force base in Anchorage. A team is sent to investigate which includes a visiting journalist. It turns out that a flying saucer has landed/crashed close to the polar scientific site. It is embedded in the ice. The team develops a plan to get the saucer out of the ice. They use thermite bombs, but they cause the saucer to explode. This makes visible a body encased in ice. The balance of the film develops the story of results of freeing the body from the ice.

Google the film, and you will find several streaming options including archive.org. I will refrain from disclosing more of the plot, but this one is well worth your time particularly if you are interested in sci fi films. Highly recommended.

It had been many years since I had seen "The Thing From Another World". I watched it last night on Turner Classic Movies. Good stuff. The thing the struck me about this film is the intelligent approach that the filmmakers took with the material. A group of people working together intelligently to try to solve the problems that crop up when they discover the saucer and its occupant. The intelligent approach of this film brought to mind another early 1950's sci fi movie, "The Day the Earth Stood Still". As far as my favorite 1950's science fiction movie, that still remains "Forbidden Planet", but this one is certainly worth watching.

 

[G0UCONN]

Just saw Peanut Butter Falcon.

Good rental

 

[zymurg]

"Roman Holiday"-William Wyler-1953

Ian McLellan Hunter and John Dighton are the listed screenwriters, but this is one of those films which the black listed Dalton Trumbo received belated credit. He received an Oscar for the story years later, then years later after his death his wife picked up another Oscar for the screenplay. William Wyler did his usual very solid job directing. The film was shot entirely in Rome. Paramount had bank accounts in Italy which could only be accessed for productions in Italy. Audrey Hepburn was a virtual unknown. Cary Grant was originally considered for the reporter romantic lead. He thought he was too old, but a decade later he made "Charade" with Hepburn. (That's another film worth viewing.) Gregory Peck took the role to change his image. Eddie Albert made a solid comic foil as the photographer.

This is very much Audrey's picture. Peck lobbied to have her name appear the title. He remarked that she was a sure thing for the Oscar. Of course she did win the Oscar. It has always surprised me how few films she made. She died early of abdominal cancer, and she took a decade off to raise her sons. She wasn't only an actress; she was a fashion icon impeccably dressed by Givanchey. She won a Grammy for "Moon River" and a Tony for Ondine. She spent most of the last years of her life as a representative for UNICEF. She won the Gene Hersholt Humanitarian Award and a Presidential Medal of Freedom.

The story is simple. The princess of an un-named European country is ending her multi-country tour in Italy. She is bored and frustrated; the doctor gives her a shot to relax her and let her sleep. She escapes from the embassy to go on an adventure. Rather than admit that she has gone missing; the embassy puts out the story
the story that she has become severely ill. She was found sleeping on a bench by an American journalist, Peck. Somehow he doesn't recognize her. He ends up bringing her back to his apartment. He discovers who she is and he believes he can get a great story. The rest of the film covers their day in Rome. Of course Peck falls in love, and he ditches the story and at the end of the film Eddie Albert returns the very candid pictures of her adventure.

There are numerous clever bits in the film. The first is at the ball in the embassy. The princess loses her shoe, and in a clever scene she regains it so she can dance. Probably the most famous bit is when Peck takes her to a famous statue. If you insert your hand into the statue's mouth; it will eat your hand if you lie. She partially inserts her hand and quickly withdraws it. Peck fully inserts hand. He withdraws it and conceals the hand inside his coat sleeve. Audrey screams; Peck hadn't told her what he planned to do. Her reaction is unrehearsed and natural. The film is filled with clever bits. Hepburn's reactions are amazing. The shots of Rome were so evocative that tourism took a definite up tick. Vespa scooters became a hot item because Peck and Hepburn ride one. The film seems to have an effortless charm.

Some people find the film dated, but I believe you need to relax and just watch and enjoy. This isn't a great film, but it is great entertainment. My highest recommendation, great family viewing.

 

[dbmill]

"Roman Holiday"-William Wyler-1953

Ian McLellan Hunter and John Dighton are the listed screenwriters, but this is one of those films which the black listed Dalton Trumbo received belated credit. He received an Oscar for the story years later, then years later after his death his wife picked up another Oscar for the screenplay. William Wyler did his usual very solid job directing. The film was shot entirely in Rome. Paramount had bank accounts in Italy which could only be accessed for productions in Italy. Audrey Hepburn was a virtual unknown. Cary Grant was originally considered for the reporter romantic lead. He thought he was too old, but a decade later he made "Charade" with Hepburn. (That's another film worth viewing.) Gregory Peck took the role to change his image. Eddie Albert made a solid comic foil as the photographer.

This is very much Audrey's picture. Peck lobbied to have her name appear the title. He remarked that she was a sure thing for the Oscar. Of course she did win the Oscar. It has always surprised me how few films she made. She died early of abdominal cancer, and she took a decade off to raise her sons. She wasn't only an actress; she was a fashion icon impeccably dressed by Givanchey. She won a Grammy for "Moon River" and a Tony for Ondine. She spent most of the last years of her life as a representative for UNICEF. She won the Gene Hersholt Humanitarian Award and a Presidential Medal of Freedom.

The story is simple. The princess of an un-named European country is ending her multi-country tour in Italy. She is bored and frustrated; the doctor gives her a shot to relax her and let her sleep. She escapes from the embassy to go on an adventure. Rather than admit that she has gone missing; the embassy puts out the story
the story that she has become severely ill. She was found sleeping on a bench by an American journalist, Peck. Somehow he doesn't recognize her. He ends up bringing her back to his apartment. He discovers who she is and he believes he can get a great story. The rest of the film covers their day in Rome. Of course Peck falls in love, and he ditches the story and at the end of the film Eddie Albert returns the very candid pictures of her adventure.

There are numerous clever bits in the film. The first is at the ball in the embassy. The princess loses her shoe, and in a clever scene she regains it so she can dance. Probably the most famous bit is when Peck takes her to a famous statue. If you insert your hand into the statue's mouth; it will eat your hand if you lie. She partially inserts her hand and quickly withdraws it. Peck fully inserts hand. He withdraws it and conceals the hand inside his coat sleeve. Audrey screams; Peck hadn't told her what he planned to do. Her reaction is unrehearsed and natural. The film is filled with clever bits. Hepburn's reactions are amazing. The shots of Rome were so evocative that tourism took a definite up tick. Vespa scooters became a hot item because Peck and Hepburn ride one. The film seems to have an effortless charm.

Some people find the film dated, but I believe you need to relax and just watch and enjoy. This isn't a great film, but it is great entertainment. My highest recommendation, great family viewing.

Roman Holiday is one of those classic old movies that I haven't seen. For whatever reason in recent months it has become a movie that I definitely want to see, so it is another one that has made my watch list (a rather lengthly list, I have to admit). One of these days I'll get around to it. One other thing that I've noticed recently is that it is often on television on the channels that we get. I just have to make time for it.

 

[zymurg]

"Forbidden Planet"-Fred Wilcox-1956

This one stuck in my craw. I couldn't think how I wanted to review this film. It had a huge budget for any '50's film, $1.8 million. It's the first SCFI film I remember in color. It was made by a major studio, MGM. It had top flight special effects. It is loosely based on Shakespeare's "The Tempest." It has the first theme made using electronic instruments. It has Robby the Robot; one of the most iconic special characters in SCIFI. When this costume was sold in 2017, it brought $5.375 million; it cost $125,000 in 1956. There is so much to like, but this is a case of the sum of the parts being much greater than the whole for me.

The two basic weak elements are the cast and the plot. Walter Pidgeon is first rate as Dr. Morbius. He is a professor of linguistics who deciphers much of the language of the Krell, the mysterious race who previously inhabited this planet. Some years ago a spaceship was sent to this planet, and it wasn't heard from. Now a new ship is sent to investigate and report back to the Federation about what happened to the Bellaraphon and its crew. Belllaraphon is a hero of a Greek myth; he destroys Chimera. The new ship is commanded by Captain Adams, Leslie Nielson. Nielson as a romantic lead is a bridge too far. Then there is Altaira, Morbius' daughter, Ann Francis. I've always thought she looked a little strange; not the "Oh brave new world that has such creatures in it..." strange. Her mini-skirts before there were mini-skirts got the film banned in Spain until 1967.

Two years of research preceded filming. It had a great test viewing, but it didn't make money. It did provide inspiration for the original Star Trek. This is a film that is almost mandatory viewing, but it is like learning to decline a verb for me. Hopefully, you will find it much more enjoyable. Well worth viewing for its many excellent qualities.

 

[zymurg]

"Equalizer 2-Antoine Fuqua-2018

I was a big fan of the original TV series "The Equalizer" 1985-1989. For those of you who didn't see this interesting show, it featured Edward Woodward as Robert McCall. McCall is a retired agent from a CIA off shoot the Company. He helps ordinary citizens in trouble. He has an add in the newspaper: "Got a problem? Odds against you? Call the Equalizer: 212-555-4200. McCall is often able to solve problems with a minimum of violence using specialists from his former career. One notable aspect of this show is how many guest stars went on to solid careers in movies and TV.

I liked the first movie in this series. Yes, I realize that it is violent, and Fuqua is a director with some real pluses and minuses, but for me Denzil Washington does so many things so well, that it was enjoyable. I think Chloe Grace Moretz is a very solid young actress. I liked her in "Let Me In" the tween American vampire movie, and her performance as a teenage prostitute is very good. So I was set up for the sequel. I admit to liking action/adventure films, and Equalizer 2 has plenty of action. The opening is solid. Instead of working in a Walmart, McCall is a Lyfte driver. Even before we settle in, McCall has a scene on a train where he rescues a kidnapped child. This sets us up for the quirks; McCall has this ability to anticipate what his opponents will do
in fight sequences. This carries over into almost every situation he is hyper aware. The most obvious current equivalent is Jack Reacher; however, Washington is platinum and Reeves is silver plate. The Jason Bourne franchise is the gold standard for this type of action film. Damon is very good in his role, the supporting cast is always very solid, and until the most recent film, "Jason Bourne" everything was superbly and skillfully done.

Sequels are always difficult to pull off. Generally they fall into the trap of being more of the same. Of course they often fall into the bigger is better trap. I've always thought that character development was key to making the sequels interesting. Jason Bourne is discovering more about himself, Al Pacino is doing the same in "The Godfather" trilogy. This doesn't happen in "Equalizer 2." Even more disappointing the quality supporting player, Melissa Leo is killed off. There shouldn't be an "Equalizer 3." 2 is okay, but it is a step down from 1 which was a solid film.

 

[zymurg]

"The Report"-Scott Z. Burns-2019

This is the story of development of the Senate Intelligence Committee Report on enhanced interrogation techniques during the War on Terror. My understanding of the program mirrors that of John McCain; the techniques were ineffective and they violated laws and more importantly the moral values of the country. I realize that this is a viewpoint which is open to some criticism. In fact one of the key actors from this period who notably destroyed evidence of the torture is now director of the CIA. The viewpoint of the film is that the American people needed and deserved to be told about this program.

This is a well made film. Despite what could be considered a slow pace; I found it compelling. Two actors are deserving of mention for excellent performances. Adam Driver plays Daniel Jones, the chief researcher for the committee. Annette Benning plays Senator Dianne Feinstein, the chairman of the Senate Intelligence Committee when the report was finally released. Jones is almost a missionary/fanatic who spends years working seven days a week in a windowless room with a few dedicated associates going through over 6 million pages of documents. He leads the creation of an 11,000 report; then writes a 500 page summary which is finally released.
He isn't a fun guy, and he is totally emotionally invested in the report. He is prickly and has a temper. Feinstein is much lower key. She is a politician, and one can question some of her positions in her long career; drone strikes are an example from this film. She recently came into some criticism for her positions regarding FBI investigations of potential witnesses in a Supreme Court nomination. Benning plays her with a light touch; she is looking for consensus. In the end she does what she believes to be the right thing and releases the report.

I highly recommend this film. It is an Amazon production which had a limited theatrical release. It is now streaming on Amazon Prime. This is an important story.

 

[nwhoopfan]

"Equalizer 2-Antoine Fuqua-2018

There is a lot to digest in this review. I liked the first one better as well. The sequel was decent. I didn't really like the way it went with who the antagonists turned out to be. I can't really elaborate on that without spoilering it.

The most obvious current equivalent is Jack Reacher; however, Washington is platinum and Reeves is silver plate.

Reacher is played by Cruise. Reeves (Keanu I'm assuming?) is in the John Wick franchise.

I think Chloe Grace Moretz is a very solid young actress. I liked her in "Let Me In" the tween American vampire movie, and her performance as a teenage prostitute is very good.

I like her as well. In a smaller role, I thought Haley Bennett was good also. She's been in plenty of films but continues to be under the radar.

 

[dbmill]

"Forbidden Planet"-Fred Wilcox-1956

This one stuck in my craw. I couldn't think how I wanted to review this film. It had a huge budget for any '50's film, $1.8 million. It's the first SCFI film I remember in color. It was made by a major studio, MGM. It had top flight special effects. It is loosely based on Shakespeare's "The Tempest." It has the first theme made using electronic instruments. It has Robby the Robot; one of the most iconic special characters in SCIFI. When this costume was sold in 2017, it brought $5.375 million; it cost $125,000 in 1956. There is so much to like, but this is a case of the sum of the parts being much greater than the whole for me.

The two basic weak elements are the cast and the plot. Walter Pidgeon is first rate as Dr. Morbius. He is a professor of linguistics who deciphers much of the language of the Krell, the mysterious race who previously inhabited this planet. Some years ago a spaceship was sent to this planet, and it wasn't heard from. Now a new ship is sent to investigate and report back to the Federation about what happened to the Bellaraphon and its crew. Belllaraphon is a hero of a Greek myth; he destroys Chimera. The new ship is commanded by Captain Adams, Leslie Nielson. Nielson as a romantic lead is a bridge too far. Then there is Altaira, Morbius' daughter, Ann Francis. I've always thought she looked a little strange; not the "Oh brave new world that has such creatures in it..." strange. Her mini-skirts before there were mini-skirts got the film banned in Spain until 1967.

Two years of research preceded filming. It had a great test viewing, but it didn't make money. It did provide inspiration for the original Star Trek. This is a film that is almost mandatory viewing, but it is like learning to decline a verb for me. Hopefully, you will find it much more enjoyable. Well worth viewing for its many excellent qualities.

Love "Forbidden Planet", it is pretty much required viewing in our house when it shows up on television. Agree that Walter Pigeon and Robby the Robot are the two best things about the movie, but for me and my wife, the whole movie comes together very well. I never thought of the Star Trek angle before, but I definitely have to agree that this film provided inspiration for the original Star Trek. Indeed, "Forbidden Planet" does play like a Star Trek episode. Good observation.

Indeed, Robby the Robot became something of an icon. While not always having the Robby name, the Robot made appearances in a bunch of television shows and in the movies as well.

I can think of one other major science fiction movie that was made in color before Forbidden Planet. That would be "War of the Worlds", which was released by Paramount in 1953. While not a great film, "War of the Worlds" is a solidly entertaining movie that is well worth watching.

 

[zymurg]

There is a lot to digest in this review. I liked the first one better as well. The sequel was decent. I didn't really like the way it went with who the antagonists turned out to be. I can't really elaborate on that without spoilering it.



Reacher is played by Cruise. Reeves (Keanu I'm assuming?) is in the John Wick franchise.



I like her as well. In a smaller role, I thought Haley Bennett was good also. She's been in plenty of films but continues to be under the radar.

You are right of course about Reeves and John Wick. That is bad because I just watched the second entry in the Wick franchise. I also watched a bunch of Mission Impossible films recently. My bad.

 

[zymurg]

"The Invisible Man"-James Whale-1933

Whale had a good deal with Universal; he generally had a great deal of control; he had a film he wanted to
make about life in the trenches in WWI. He didn't want to make another horror film. He feared limiting his scope as a director. He searched around and found a property that Universal owned, H.G. Welles' "The Invisible Man." Supposedly, Universal didn't realize that Welles had script approval. Whale brought in his friend R.C. Sherrif to write the script. Even more unusual he brought in an unknown stage actor, Claude Rains, to play the lead role. It was the actor's great voice which won him the role. Rains had a great career working in some of the best films made from the 30's to the 60's. This is one of Hollywood's unlikely masterpieces.

Jack Griffin aka The Invisible Man was a scientific researcher who worked under Henry Travers (the Angel in "It's a Wonderful Life.") on food preservation. He has his own secret research. He works with a rare drug monocaine which leeches away all pigmentation; unfortunately it has a major side effect; it drives users mad. When Griffin achieved "Success" but couldn't figure out how to reverse the process; he left leaving behind his lady love the daughter of his mentor Travers. His return to the area to find a reversal mixture is the start of the film. He arrives at the Lions' Head in the middle of a snow storm his face covered in bandages wearing dark glasses.

The shocking unveiling of the masked man gives the story its title, and it is of course one of the great special effects achievements of early sound pictures. John Fulton and his special effects crew made the transformation real. It is used both comically as in the scene of a riderless bicycle and dramatically in the murder of one of his co-workers. This is a magical film in the same sense that George Melies (Voyage to the Moon) created film magic. The acting is solid, the script is good, and Whale's ability to integrate humor, drama, and suspense seamlessly make this film a joy to view, but oh that voice dominates the film.

Highest recommedation.

 

[Waquoit]

Hey Zy, have you seen Eating Raoul? I hadn't thought of it for years, it just came up in conversation and I swear one of the first things I thought is "what's Zymurg's take?"

 

[zymurg]

Hey Zy, have you seen Eating Raoul? I hadn't thought of it for years, it just came up in conversation and I swear one of the first things I thought is "what's Zymurg's take?"

That's one I haven't seen. I know a little about it. Interesting premise, I'd like to see it.

 

[zymurg]

"Yojimbo"-Akira Kurosawa-1961

This is an uncredited adaptation of Dashiell Hammit's "Red Harvest" with a few extras thrown in. The Continental Op comes to a town where two warring groups of gangsters are fighting for control. The unnamed Op sets the two sides against each other. In "Yojimbo" a wandering ronin is traveling aimlessly after the end of the Tokagawa Shogunate, He has no employer, and he has no ideas about where to go to make a living. He picks up a stick and tosses it into the air. He goes in the direction the points out. Interesting, the stick has two ends, which end is the pointer? That reminds me of a Yogism "When you come to a fork in the road; take it."
He enters a small town where two groups are clashing. One supports the silkmakers, the other supports the sake maker. At stake is control of the local gambling. Essentially, the Japanese governmental and social system has broken down in 1860.

Kurosawa asked his assistants and other crew members to come up with ways to show the disintegration in the village. It was his suggestion that was the most memorable; we see a dog with a human hand in its mouth running in the street. The composer said he was influenced by Henri Mancini:that makes me think "Moon River". That is not what he is referencing; the score is discordant. This represents the conflicts in Sanjuro's (Toshiro Mifune) mind. For Herzog there is Kinski; for Kurosawa there is Mifune. Mifune arrived late one day and took some flack. Thereafter he arrived on set at 6 am in costume and make-up.

Famously Leone's "A Fistful of Dollars" is an almost exact re-make. Kurosawa sued, and he won $100,000 and 15% of the profits. Walter Hill acknowledges Kurosawa in the credits for "Last Man Standing" with Bruce Willis.
More recently the Coen Brothers "Miller's Crossing" uses basically the same plot. This was Kurosawa's most successful film in Japan. Interestingly, it is perhaps the most Western influenced of all his films. Kurosawa attempted to show the negative effects of violence; however, he acknowledged that many filmmakers took the truism that more violence meant more money at the box office. We see blood in the film, and new sound effects to replicate the sound of a sword cutting through bone. Additionally, we have humor in mayhem. I am reminded of the the Steve Martin character in "Grand Canyon;" his worries about missing the gory money shot, and his return to violence for violence sake after his revelations when he was near death illustrate much of action movie making.

This isn't my favorite Kurosawa film, but it has a place in Ebert's "The Great Movies." The review is available on line in full. The movie is available to stream for free; Goggle "Yojimbo" and it takes you there. This is highly recommended; it's not just a great influence of other film makers; it is compelling viewing in its own right

 

[dbmill]

"Yojimbo"-Akira Kurosawa-1961

Famously Leone's "A Fistful of Dollars" is an almost exact re-make.

It's been many years since I've seen "Yojimbo", but I have watched it several times. Terrific film. To say that Fistful of Dollars" is almost an exact remake is a pretty accurate statement. I recall being amazed at how certain scenes were pretty much lifted straight from "Yojimbo", most memorably the coffin escape sequence.

 

[Waquoit]

That's one I haven't seen. I know a little about it. Interesting premise, I'd like to see it.

Definitely low budget, but I got a kick out of it in high school. I'm wondering if it holds up even a little.