Films Worth Viewing

[zymurg]

"Grand Canyon"-Lawrence Kasdan-1991

Lawrence Kasdan began his career as a screenwriter. Among his best known efforts are: "The Empire Strikes Back," "The Return of the Jedi," and "Raiders of the Lost Arc." His directing career has been solid and includes "The Big Chill" and "Body Heat." While I acknowledge that this isn't a great film, still this is one I return every few years.

Mac (Kevin Kline) is attending a Lakers game in courtside seats as the guest of his best friend, Davis (Steve Martin) the producer of violent action films. Mac's car breaks down in the midst of the LA ghetto. He is rescued from a threatening car of gang members by the arrival of his tow truck driver, Simon (Danny Glover).
While Mac awaits the car's repairs completion, the two talk. Simon discusses his visit to the Grand Canyon which he suggests as a family outing.

We meet Mac's wife, Claire (Mary McDonnell) and his son, Roberto (Jeremy Sisto in his film debut) at the pickup point for his summer camp. Mac, an immigration lawyer, has a one night affair with his legal secretary, Dee (Mary Louise Parker). She has a black female friend, Jane (Alfre Woodward) who works in the same building.

Claire comes across an an abandoned baby while on her morning run. She takes the baby home and cares for her without notifying the police. When Mac returns home, the police are notified, and Claire indicates that she wants to adopt the baby. Mac arrives one morning at the gas station where Simon works and invites him for breakfast. While at breakfast Mac tells a personal story where an unknown woman pulls him back from the path of a city bus. She was wearing a Pittsburg Pirate baseball cap. The Pirates are his favorite team and the source of his son's name Roberto for Roberto Clemente. Mac believes that his and Simon's meeting was more than happenstance.

Mac's best friend Davis the producer is shot in the leg by a snatch and grab burglar when he offers the keys to his car instead of the Rolex the robber demanded. He has a "religious" experience in the hospital. Later
he states his desire to make life affirming pictures rather than his violent action films. He later recants this, and in one of the best scenes in the film gives Mac a view of Preston Sturges film "Sullivan's Travels"
which he says shows how an artist is brought back to his true calling after an attempt to make a meaningful
film about the poor. He mentions the Grand Canyon as a metaphor for the gulf between the rich and the poor in America. He says that his depictions of violence are artistic truth. The best line is:"That's part of your problem you know, you haven't seen enough movies; all of life's riddles are answered in the movies." Like much of Davis' pontifications, this is a little off. Riddles are solved, questions are answered.

Kasdan attempts to weave together the live's of six principal characters, male and female, white and black, rich to poor in contemporary Los Angeles. Over 25 years later, the problems remain, and perhaps have gotten worse. In addition to the life intersections, this Los Angeles is brought together by the omnipresent helicopter flying overhead. I had thought that it was a police helicopter; if I had given it any thought. It is a TV newscopter reporting on the traffic. The nasty traffic is used in half a dozen scenes as a common problem. Random violence is also a common problem. Dreams/visions are another common tie in. Critics
often found the film facile, and the ending where a group of the principals make it to the Grand Canyon trite.
They wanted answers and truth. I wonder how many understood that Kasdan doesn't believe that films have answers to life's problems. We bring ourselves to the films we view. The great Edith Piaf's signature song "La Vie en Rose" is one of the best artistic explanations of seeing life through rose colored glasses.

This is an excellent script, and the acting is generally spot on. Kasdan is smarter and better than many of his critics allow, still there are a lot of coincidences holding the plot together. We come back to a willing suspension of disbelief, one of best tools in your film viewing kit. Highly recommended; guess what film is next up?

 

[storrsroars]

Since you ended on "willing suspension of belief", I'm going with Field of Dreams.

 

[dbmill]

"Grand Canyon"-Lawrence Kasdan-1991

Lawrence Kasdan began his career as a screenwriter. Among his best known efforts are: "The Empire Strikes Back," "The Return of the Jedi," and "Raiders of the Lost Arc." His directing career has been solid and includes "The Big Chill" and "Body Heat." While I acknowledge that this isn't a great film, still this is one I return every few years.

Mac (Kevin Kline) is attending a Lakers game in courtside seats as the guest of his best friend, Davis (Steve Martin) the producer of violent action films. Mac's car breaks down in the midst of the LA ghetto. He is rescued from a threatening car of gang members by the arrival of his tow truck driver, Simon (Danny Glover).
While Mac awaits the car's repairs completion, the two talk. Simon discusses his visit to the Grand Canyon which he suggests as a family outing.

We meet Mac's wife, Claire (Mary McDonnell) and his son, Roberto (Jeremy Sisto in his film debut) at the pickup point for his summer camp. Mac, an immigration lawyer, has a one night affair with his legal secretary, Dee (Mary Louise Parker). She has a black female friend, Jane (Alfre Woodward) who works in the same building.

Claire comes across an an abandoned baby while on her morning run. She takes the baby home and cares for her without notifying the police. When Mac returns home, the police are notified, and Claire indicates that she wants to adopt the baby. Mac arrives one morning at the gas station where Simon works and invites him for breakfast. While at breakfast Mac tells a personal story where an unknown woman pulls him back from the path of a city bus. She was wearing a Pittsburg Pirate baseball cap. The Pirates are his favorite team and the source of his son's name Roberto for Roberto Clemente. Mac believes that his and Simon's meeting was more than happenstance.

Mac's best friend Davis the producer is shot in the leg by a snatch and grab burglar when he offers the keys to his car instead of the Rolex the robber demanded. He has a "religious" experience in the hospital. Later
he states his desire to make life affirming pictures rather than his violent action films. He later recants this, and in one of the best scenes in the film gives Mac a view of Preston Sturges film "Sullivan's Travels"
which he says shows how an artist is brought back to his true calling after an attempt to make a meaningful
film about the poor. He mentions the Grand Canyon as a metaphor for the gulf between the rich and the poor in America. He says that his depictions of violence are artistic truth. The best line is:"That's part of your problem you know, you haven't seen enough movies; all of life's riddles are answered in the movies." Like much of Davis' pontifications, this is a little off. Riddles are solved, questions are answered.

Kasdan attempts to weave together the live's of six principal characters, male and female, white and black, rich to poor in contemporary Los Angeles. Over 25 years later, the problems remain, and perhaps have gotten worse. In addition to the life intersections, this Los Angeles is brought together by the omnipresent helicopter flying overhead. I had thought that it was a police helicopter; if I had given it any thought. It is a TV newscopter reporting on the traffic. The nasty traffic is used in half a dozen scenes as a common problem. Random violence is also a common problem. Dreams/visions are another common tie in. Critics
often found the film facile, and the ending where a group of the principals make it to the Grand Canyon trite.
They wanted answers and truth. I wonder how many understood that Kasdan doesn't believe that films have answers to life's problems. We bring ourselves to the films we view. The great Edith Piaf's signature song "La Vie en Rose" is one of the best artistic explanations of seeing life through rose colored glasses.

This is an excellent script, and the acting is generally spot on. Kasdan is smarter and better than many of his critics allow, still there are a lot of coincidences holding the plot together. We come back to a willing suspension of disbelief, one of best tools in your film viewing kit. Highly recommended; guess what film is next up?

A quick passing mention to Sullivan's Travels. A great movie, although my favorite Preston Sturges film is The Lady Eve. Sturges had a batch of great movies in the 1940's.

 

[Waquoit]

Since you ended on "willing suspension of belief", I'm going with Field of Dreams.

I was gonna say Rocky 2.

 

[zymurg]

"Sullivan's Travels"-Preston Sturges-1941

Preston Sturges is another director who is almost forgotten today. "The Lady Eve" is my favorite Sturges' film, but I haven't seen "The Miracle of Morgan's Creek." The central character in the film, John L. Sullivan (Joel McCrea), is a successful director of comedies and musicals. The studio heads are shocked when he announces his plan for his next film. "O Brother Where Art Thou" is based on a book of the same name. Sullivan plans to travel the country as a hobo with ten cents in his pocket. More than half a century later, The Coen brothers took the title and many of the situations in the film for an action comedy. The studio heads insist on having a bus with publicity staff, a cook, and a doctor follow Sullivan.

When Sullivan is discussing his project one of the studio heads interjects the phrase: ...with a little sex..." Sullivan is planning to make a film about the common man, but he comes from a privileged background. In his initial foray he meets a girl (Veronica Lake) who buys him a meal. Shortly afterwards he and by and the girl are arrested. When he is released after the identification by his butler and valet; he asks that the girl be released.
The desk sargeant asks: "How does the girl fit in the picture?" He responds:"There's always a girl in the picture. What's the matter, don't you go to the movies?"

This is a comedy. It opens with Capitol and Labor in a life and death struggle atop a speeding train. The first few minutes feature slapstick from the silent era including a car chase. When Sullivan sets off again the girl is his traveling companion in appropriate attire, After several adventures, Sullivan has enough information and he is ready to quit the road. He ventures once again to the hobo village along the tracks, but without the girl. He has $1,000 in five dollar bills which he intends to hand out. One bum attacks him steals the money and his boots. The boots are important because they contain identification. The robber is run over by the train; he is misidentified by the boots. John L. Sullivan is dead,, and even worse a bum assaults a railroad Dick and ends up in prison working on a road gang.

Of course there is a happy ending. Sullivan is rescued from the chain gang, but not before he watches a Pluto cartoon, "Playful Pluto",in a Black church. He learns the true importance of humor, it is sometimes all the poor and downtrodden have. So "O Brother..." is off and it is back to lighter fare, but the girl is back in the picture. If there is a lesson in this film, it is you that better make sure the girl is in the picture.

Next up "Field of Dreams"

 

[dbmill]

"Sullivan's Travels"-Preston Sturges-1941

Preston Sturges is another director who is almost forgotten today. "The Lady Eve" is my favorite Sturges' film, but I haven't seen "The Miracle of Morgan's Creek." The central character in the film, John L. Sullivan (Joel McCrea), is a successful director of comedies and musicals. The studio heads are shocked when he announces his plan for his next film. "O Brother Where Art Thou" is based on a book of the same name. Sullivan plans to travel the country as a hobo with ten cents in his pocket. More than half a century later, The Coen brothers took the title and many of the situations in the film for an action comedy. The studio heads insist on having a bus with publicity staff, a cook, and a doctor follow Sullivan.

When Sullivan is discussing his project one of the studio heads interjects the phrase: ...with a little sex..." Sullivan is planning to make a film about the common man, but he comes from a privileged background. In his initial foray he meets a girl (Veronica Lake) who buys him a meal. Shortly afterwards he and by and the girl are arrested. When he is released after the identification by his butler and valet; he asks that the girl be released.
The desk sargeant asks: "How does the girl fit in the picture?" He responds:"There's always a girl in the picture. What's the matter, don't you go to the movies?"

This is a comedy. It opens with Capitol and Labor in a life and death struggle atop a speeding train. The first few minutes feature slapstick from the silent era including a car chase. When Sullivan sets off again the girl is his traveling companion in appropriate attire, After several adventures, Sullivan has enough information and he is ready to quit the road. He ventures once again to the hobo village along the tracks, but without the girl. He has $1,000 in five dollar bills which he intends to hand out. One bum attacks him steals the money and his boots. The boots are important because they contain identification. The robber is run over by the train; he is misidentified by the boots. John L. Sullivan is dead,, and even worse a bum assaults a railroad Dick and ends up in prison working on a road gang.

Of course there is a happy ending. Sullivan is rescued from the chain gang, but not before he watches a Pluto cartoon, "Playful Pluto",in a Black church. He learns the true importance of humor, it is sometimes all the poor and downtrodden have. So "O Brother..." is off and it is back to lighter fare, but the girl is back in the picture. If there is a lesson in this film, it is you that better make sure the girl is in the picture.

Next up "Field of Dreams"

Funny, for the first time in many years, I saw "The Miracle of Morgan's Creek" on Turner Classic Movies recently. Not quite on the same level as "The Lady Eve" and "Sullivan's Travels" (both excellent films), but close. A very worthy entry in the Preston Sturges filmography.

One character actor who shows up in many Preston Sturges films is William Demarest, who is famous to the television generation for playing Uncle Charlie on "My Three Sons". There is often quite a bit of insanity going on in Sturges movies, and Demarest is often right in the middle of it. It's great to watch him do his thing in these movies.

 

[zymurg]

"Field of Dreams"Phil Alden Robinson-1989

This is the 30th anniversary of its release. To celebrate the event, Turner Classic Movies is re-releasing this film in 600 theaters nationwide. Unfortunately, there are no theaters on the Cape participating. Check Fandago; it is being shown on June 16th (Father's Day) and June 18th. I suspect that most 'Yarders have seen this film. So I will not provide a long synopsis. Robinson adapted the screenplay from the W.P. Kinsella novel "Shoeless Joe."
The adaptation, the movie, and the score were Oscar nominees, none won. In fact the only award it actually won was for best foreign film in Japan. It had two valuable elements, baseball and reverence for ancestors, both of which were written on the film posters. This reveals the ending, but it does answer the second of the two questions posed by the classic line: "If you build it; he will come." The he is Ray Kinsella's father. John.
The what we find out early in the film. Ray (Kevin Costner) hears a voice in his cornfield which uttered the famous line. He has a vision of "Shoeless"Joe Jackson in his field-turned baseball field.

Jackson appears along with other members of the 1919 "Black Sox", the infamous group which threw the 1919 World Series. Ray and his wife, Annie (Amy Madigan) have an identical dream about Ray being in Fenway Park
with famous 60's writer, Terrance Mann (James Earl Jones). Ray with his wife's blessing sets off across country because he expects to receive another message. Mann is a stand in for a real author who is jealous of his privacy; I will honor that by not revealing his identity. The two men do receive a message, two in fact, "Go the distance," is the first; the second is the major league record of Archibald "Moonlight" Graham. They set off on the road to Minnesota to find him. He is already dead; he turns up at the ball field in a different way.

Not everyone can see the players, who now have recruited additional players; so they are now actually playing games. Mark, Annie's brother, (Timothy Busfield) and his partners have bought the mortgage on the farm, they plan to foreclose. Mark walks across the diamond in the middle of the game without being aware of the game. Ray's daughter, Karin, gets knocked off her seat atop the bleachers, she falls hard to the ground. She is turning blue, and just as Annie is running to call emergency services, one of the players crosses from the field to the real world. He changes into Dr. Archibald Graham. He thumps her back and out pops part of a hot dog. "Moonlight" knows that he can't become a player again. He did achieve his ambition of having an at bat against a major league pitcher. This results in the only run we see scored, but it's by a sacrifice fly. Mark can now see the players.

The savior of the farm is the people who come to see the games; the film ends with a seeming endless line of cars with their lights on coming to the "Field of Dreams." Interestingly. Robinson wonders about whether the field should be turned over to corn again. The site has become a major tourist attraction; they have a web site, and today they are having a special celebration to honor the 30th anniversary of the films release.
It is also the 100th anniversary of the "Black Sox" scandal. For the record today is my 79th birthday. Now the conjunction of these 3 nines, may well be mystical.

I should mention that this was Burt Lancaster's final film and Gabby Hoffman's first. Ray Liotta attended his first baseball game at Ebbets Field with his father. I went to my first World Series Game at Ebbets Field in 1954 with my father. Hmm, something may be happening here. I should mention, some critics and audience members find this film contrived, puerile, hokey, and generally one of the most overrated films of all time. If you feel this way, or if you haven't seen it but other films of this ilk like "It Could Happen to You"
or "It's a Wonderful Life" give indigestion or heartburn, psychic or real, don't waste your time.

My highest recommendation.

 

[dbmill]

The site has become a major tourist attraction; they have a web site, and today they are having a special celebration to honor the 30th anniversary of the films release. It is also the 100th anniversary of the "Black Sox" scandal. For the record today is my 79th birthday. Now the conjunction of these 3 nines, may well be mystical.

Happy birthday!

 

[dbmill]

Since you ended on "willing suspension of belief", I'm going with Field of Dreams.

There has been a mention of the "willing suspension of disbelief” in reference to Field of Dreams, with the hint that it also applies to all films with a bit of fantasy to them. For me, all movies need their viewers to have to have a willing suspension of disbelief, no matter how realistic the premise. To me it is simply the movie watcher being willing to buy into whatever story a particular film is telling.

 

[storrsroars]

Yeah, but Field of Dreams was a special kind of ride, the way everything fit together. Having read the Kinsella book, this is a case where the movie is definitely more emotionally compelling than the book, as events happen quicker and with less explanation - the miracles keep piling on top of other miracles. As Ray says to Mann, "It's perfect."

Yeah, I was one of the saps in tears at the end when I first saw it in the theatre. I don't care if some critics call it trite or whatever. I imagine those people only talk about themselves at parties.

And to zymurg, since Kinsella wrote about him and it's public information, the Mann character was JD Salinger. I don't think you need worry about mentioning that - it's common knowledge among pretty much anyone who's seen reviews of the film. However, casting James Earl Jones was an inspired choice.

 

[dbmill]

Yeah, but Field of Dreams was a special kind of ride, the way everything fit together. Having read the Kinsella book, this is a case where the movie is definitely more emotionally compelling than the book, as events happen quicker and with less explanation - the miracles keep piling on top of other miracles. As Ray says to Mann, "It's perfect."

Yeah, I was one of the saps in tears at the end when I first saw it in the theatre. I don't care if some critics call it trite or whatever. I imagine those people only talk about themselves at parties.

And to zymurg, since Kinsella wrote about him and it's public information, the Mann character was JD Salinger. I don't think you need worry about mentioning that - it's common knowledge among pretty much anyone who's seen reviews of the film. However, casting James Earl Jones was an inspired choice.

I love Field of Dreams, and I agree with everything you say here. It is a great fantasy film, and it is also one of my two favorite baseball movies (the other one is Bull Durham). Terrance Mann is indeed a great role for James Earl Jones, I also love the casting of Burt Lancaster. He may not have all that much time on the screen in this one, but he really connects with the Doc Graham role. To say that he has charm to spare in this film would very much be an understatement.

There is another Kinsella baseball book that I would love to be turned into a film. That would be The Iowa Baseball Confederacy. It's a great read and story, and it is even more fantastical than Field of Dreams. At one point I thought The Iowa Baseball Confederacy would be impossible to film, but given what they can do with special effects these days, you just never know.

 

[storrsroars]

Oddly I had an entirely different opinion on the Iowa Baseball Confederacy. I struggled to get through that one.

And yeah, Burt was great in that role.

 

[dbmill]

I should mention, some critics and audience members find this film contrived, puerile, hokey, and generally one of the most overrated films of all time. If you feel this way, or if you haven't seen it but other films of this ilk like "It Could Happen to You" or "It's a Wonderful Life" give indigestion or heartburn, psychic or real, don't waste your time.

My highest recommendation.

Good comparison to It's a Wonderful Life. Easily my favorite Frank Capra movie, and one of my top four Christmas movies.

 

[zymurg]

Yeah, but Field of Dreams was a special kind of ride, the way everything fit together. Having read the Kinsella book, this is a case where the movie is definitely more emotionally compelling than the book, as events happen quicker and with less explanation - the miracles keep piling on top of other miracles. As Ray says to Mann, "It's perfect."

Yeah, I was one of the saps in tears at the end when I first saw it in the theatre. I don't care if some critics call it trite or whatever. I imagine those people only talk about themselves at parties.

And to zymurg, since Kinsella wrote about him and it's public information, the Mann character was JD Salinger. I don't think you need worry about mentioning that - it's common knowledge among pretty much anyone who's seen reviews of the film. However, casting James Earl Jones was an inspired choice.

That passage was meant to be ironic; Salinger is well known for pursuing his privacy through litigation. This is one of Phil Robinson's additions that is actually better than the book. Surprisingly, none of the actors received Oscar nominations; this is an excellent cast. Kinsella reviewed the film for a Canadian periodical; he gave it four out of five stars.

Up next "The Great Dictator" and "Alexander Nevsky."

 

[Fishy]

That passage was meant to be ironic; Salinger is well known for pursuing his privacy through litigation. This is one of Phil Robinson's additions that is actually better than the book. Surprisingly, none of the actors received Oscar nominations; this is an excellent cast. Kinsella reviewed the film for a Canadian periodical; he gave it four out of five stars.

Up next "The Great Dictator" and "Alexander Nevsky."

Btw....happy birthday!

 

[zymurg]

"The Great Dictator"-Charles Chaplin-1940

This is one of the many films I first saw in college at the special film viewings the undergraduate film group promoted on Friday and Saturday nights. I was very involved in the theater in college. I took tickets, ushered, for most of the films. I even had some influence on which films were shown; I was responsible for showing "My Little Chickadee." I apologize for that choice. As I remember my first viewing, there was quite a bit of laughter by my fellow students. I remembered particularly two scenes. In the first Adenoid Hynkel, the dictator of Tomania is bouncing a balloon globe around in his office. The second is where Napolini, the dictator of Bacteria, is given a kid's seat so Hynkel will be high above him. Those scenes still remain among my favorites.
This film was financed entirely by Chaplin. It cost about $2 million, it made about $5 million. It took several years of preparation, and a year and a half to film. Chaplin, as many of you will know, did everything on his later films:directed, wrote, wrote/chose the music, chose the cast, supervised the editing, and supervised the promotion and theater placement.

The story begins in World War I, the barber is serving with a German (Tomanian) artillery regiment in the later days of the war. The barber (Chaplin) pulls the rope which fires a massive artillery piece which is trying to hit Notre Dame. The first shot misses, and the second shot is a dud. The barber is ordered to investigate the massive shell. This is quite a funny sequence. Several misadventures later, the barber ends up trying to save an aviator. The plane crashes; the barber ends up in the hospital. He stays there for 20 years missing the rise of Hynkel and the double cross party. He leaves the hospital and returns to the ghetto.

The barber almost immediately becomes involved with the anti-semitic police. He is rescued by Hannah (Paulette Goddard) a local washerwoman. She lives with Jaekel (Maurice Moskovitch a star of the Yiddish theater). The ghetto receives a reprieve when Commander Schultz (Reginald Gardiner) recognizes the barber as the soldier who saved him.

I chose to follow Chaplin's example in separating the two story streams. So now we look at Adenoid Hynkel,dictator of Tomania. We first see him making an impassioned speech in a word salad to thousands in person and millions over the radio. This is translated into English sparsely and with no relationship to the truth. Hynkel's two closest advisers are Garbistch (Henry Daniell) the Minister of Propaganda, and Herring (Billy Gilbert) the Minister of War. They are obviously modeled on Goebbels and Goering, However, in real life Goebbels is small and frail and was a behind the scenes adviser. Garbistch is taller more forceful and not at all comic. This is an excellent performance.

There are plans to invade Austerlich. However, there are several problems, one of whom is Benezino Napolino, Dictator of Bacteria. His army is also poised on the borders of Austerlich. This is a great performance by Jack Oakie. Their numerous one upmanship scenes are frequently hilarious. Austerlich is taken by Tomania. Now the two stories really converge.

Commander Schultz is arrested for attacking Hynkel and his policies. He escapes and hides in the ghetto.
He and the barber are captured by the storm troopers and sent to the concentration camp. Meanwhile Hannah and Jaekel escape to Austerlich before the invasion. They are captured and are going to be sent to a concentration camp. Meanwhile, Schultz and the barber escape. Through a series of misadventures they end up on the platform. The barber disguised as Hynkel gives an impassioned speech contradicting all of Hynkel's policies.

This speech was dear to Chaplin's heart; he repeated it over radio, and it feature's prominently in his autobiography. Critics were unkind, many deeming it incongruous for the barber's character. In general the movie was a commercial and critical success despite being banned in many countries. Eisenhower contacted Chaplin to obtain French language prints after the liberation. It was an enormous success.

One area not covered adequately to my mind by commentators and scholars is the use of language. The Hynkel word salad is noted and studied. On the ghetto walls and storefronts in Tomania, many signs are in Esperanto. Esperanto is an invented international language based primarily on Romance Languages. It was invented by a Polish Jew. In Austerlich the similar signs are in Yiddish. Yiddish dates back to the 13th century. It is syncretic; it takes words, concepts, from several languages, but principally German. It is written in a modified Hebrew script. As mentioned above, Chaplin controlled everything in his films. So, what was he trying to say. I've thought about this, and my conclusion is I need a translator.

Your best chance to see this film is either through TCM or by buying the Criterion Edition. It is more than just an interesting historical piece, but by its very nature it cannot fully escape its era. Recommended, but I think most 'Yarders may well find other Chaplin films more welcoming.

 

[dbmill]

"The Great Dictator"-Charles Chaplin-1940

This is one of the many films I first saw in college at the special film viewings the undergraduate film group promoted on Friday and Saturday nights. I was very involved in the theater in college. I took tickets, ushered, for most of the films. I even had some influence on which films were shown; I was responsible for showing "My Little Chickadee." I apologize for that choice. As I remember my first viewing, there was quite a bit of laughter by my fellow students. I remembered particularly two scenes. In the first Adenoid Hynkel, the dictator of Tomania is bouncing a balloon globe around in his office. The second is where Napolini, the dictator of Bacteria, is given a kid's seat so Hynkel will be high above him. Those scenes still remain among my favorites.
This film was financed entirely by Chaplin. It cost about $2 million, it made about $5 million. It took several years of preparation, and a year and a half to film. Chaplin, as many of you will know, did everything on his later films:directed, wrote, wrote/chose the music, chose the cast, supervised the editing, and supervised the promotion and theater placement.

The story begins in World War I, the barber is serving with a German (Tomanian) artillery regiment in the later days of the war. The barber (Chaplin) pulls the rope which fires a massive artillery piece which is trying to hit Notre Dame. The first shot misses, and the second shot is a dud. The barber is ordered to investigate the massive shell. This is quite a funny sequence. Several misadventures later, the barber ends up trying to save an aviator. The plane crashes; the barber ends up in the hospital. He stays there for 20 years missing the rise of Hynkel and the double cross party. He leaves the hospital and returns to the ghetto.

The barber almost immediately becomes involved with the anti-semitic police. He is rescued by Hannah (Paulette Goddard) a local washerwoman. She lives with Jaekel (Maurice Moskovitch a star of the Yiddish theater). The ghetto receives a reprieve when Commander Schultz (Reginald Gardiner) recognizes the barber as the soldier who saved him.

I chose to follow Chaplin's example in separating the two story streams. So now we look at Adenoid Hynkel,dictator of Tomania. We first see him making an impassioned speech in a word salad to thousands in person and millions over the radio. This is translated into English sparsely and with no relationship to the truth. Hynkel's two closest advisers are Garbistch (Henry Daniell) the Minister of Propaganda, and Herring (Billy Gilbert) the Minister of War. They are obviously modeled on Goebbels and Goering, However, in real life Goebbels is small and frail and was a behind the scenes adviser. Garbistch is taller more forceful and not at all comic. This is an excellent performance.

There are plans to invade Austerlich. However, there are several problems, one of whom is Benezino Napolino, Dictator of Bacteria. His army is also poised on the borders of Austerlich. This is a great performance by Jack Oakie. Their numerous one upmanship scenes are frequently hilarious. Austerlich is taken by Tomania. Now the two stories really converge.

Commander Schultz is arrested for attacking Hynkel and his policies. He escapes and hides in the ghetto.
He and the barber are captured by the storm troopers and sent to the concentration camp. Meanwhile Hannah and Jaekel escape to Austerlich before the invasion. They are captured and are going to be sent to a concentration camp. Meanwhile, Schultz and the barber escape. Through a series of misadventures they end up on the platform. The barber disguised as Hynkel gives an impassioned speech contradicting all of Hynkel's policies.

This speech was dear to Chaplin's heart; he repeated it over radio, and it feature's prominently in his autobiography. Critics were unkind, many deeming it incongruous for the barber's character. In general the movie was a commercial and critical success despite being banned in many countries. Eisenhower contacted Chaplin to obtain French language prints after the liberation. It was an enormous success.

One area not covered adequately to my mind by commentators and scholars is the use of language. The Hynkel word salad is noted and studied. On the ghetto walls and storefronts in Tomania, many signs are in Esperanto. Esperanto is an invented international language based primarily on Romance Languages. It was invented by a Polish Jew. In Austerlich the similar signs are in Yiddish. Yiddish dates back to the 13th century. It is syncretic; it takes words, concepts, from several languages, but principally German. It is written in a modified Hebrew script. As mentioned above, Chaplin controlled everything in his films. So, what was he trying to say. I've thought about this, and my conclusion is I need a translator.

Your best chance to see this film is either through TCM or by buying the Criterion Edition. It is more than just an interesting historical piece, but by its very nature it cannot fully escape its era. Recommended, but I think most 'Yarders may well find other Chaplin films more welcoming.

I've seen "The Great Dictator" a number of times, but not recently. A very good Chaplin film (his first full talkie) with some great imagination and creativity, things that you would expect in a Chaplin movie. Some great Chaplin set pieces as well, especially the bouncing globe sequence. And as was mentioned, Jack Oakie is terrific as will. My only complaint is that there are spots where it can get a little preachy in its propaganda. However, given the subject matter with Nazis, war, ghettos, concentration camps, etc.., a little preachiness can be a bit hard to avoid. Still, it is a very watchable film, and I like it quite a bit.

 

[zymurg]

"Alexander Nevsky"-Sergei Eisenstein-1938

Eisenstein is generally considered on of the greatest film directors of all time despite having made very few films. His technical and artistic writings are still used in film schools. One of the major reasons Eisenstein made very few films was politics. His early silent films: "Strike" and "The Battleship Potemkin" were critical successes and were considered politically correct. His "Ten Days That Shook the World" or "October" was considered too artsy and violated the principals of social realism. He had to write apologetic pieces admitting his errors. He spent several years abroad. He even signed a contract with Paramount; it was ended by mutual consent when the studio rejected a screenplay. He then became involved with Upton Sinclair and a project to film in Mexico.
He shot hundreds of thousands of feet of film, but conflicts again prevented him from making a film. He was summoned back to Russia, and he narrowly avoided being caught up Stalin's purges.

"Alexander Nevsky" was virtually commissioned by Stalin. Prokofiev was to write the score; he was also out of favor with the regime. His longtime cinematographer, Edward Tisse, was also part of the team. The collaboration between Prokofiev and Eisenstein was excellent. Without Eisenstein's knowledge the film was sent to Stalin for a private viewing. It was returned missing a reel of film, but with unqualified approval by Stalin. This meant that no changes could be made. The score attached to this print was a rehearsal take, but it couldn't be changed. Nobody knows for sure what happened to the missing reel of film. The film was released in 1938, but pulled 1939 after Russia signed a pact with Nazi Germany. After the German's invaded, Stalin is supposed to have insisted that it be shown in every theater in the Soviet Union. Prokofiev's score was able to be performed in the two year hiatus. It was immensely popular.

The film was shot in the late spring and early summer of 1938. This created major problems for the battle on the ice which is the centerpiece of the film. The historical setting for the film is 1242 with the Mongols attacking from one side, and the Teutonic Knights attacking from the other. Pskov has already fallen, and Novgorod is in peril. The film opens with a panoramic view of a battle ground strewn with skeletons, armor,
and arrows. The setting is a lakeside with peasants fishing with a huge net. They are interrupted by a group on Mongols; a scuffle breaks out. Suddenly, Nevesky emerges. He convinces the Mongols to depart. We find out that Nevesky (Nikolai Cherskov) has defeated the Swedes . Shortly thereafter a delegation from Novgorod comes to Nevsky asking him to lead the fight against the German Knights. In Novgorod we are introduced to three citizens: Ignat, the armorer (Dimitri Orlov) and two soldiers Vasily (Nikolai Okhlopkov) and Gavrilo (Alexander Abriksov) who are in competition for the same girl. We also see that the merchants are willing to make a deal with the Knights. Nevsky rejects this and calls upon the peasants to join his army.
The Teutonic Knights prove how evil they are by literally throwing babies into the fire. Their religion is given sinister overtones by the physical characters of the Bishop and the organ player. We see no priests blessing the Russians. In the "Why We Fight" series a full length film is available on the Russian Front. The soldiers and the people are praised in the intro, but for our purposes it is useful to note the scenes from "Nevsky" are part of the introduction, and even more telling there is an extended scene of the Orthodox Bishop of Moscow blessing the war against the Germans.

I want to spend a little time discussing the importance of Ignat, the master armorer. He gives away swords,battle axes, and armor to the defenders of Novgorod (Russia). He is left with armor which is too short for himself. In the night before the crucial battle on the ice; he tells bawdy stories to the troops. This is very reminiscent of Shakespeare, an acknowledged influence on Eisenstein. Eisenstein's battle sequences influence Olivier and other Western film makers. Ignat is a prototype of the common man, a working man hero. He captures/takes the surrender of a Russian traitor who serves the Knights. The traitor kills Ignat stabbing him with his own knife. There are traitors to the revolution;they are never to be trusted. His last words bemoan his short armor.

Eisenstein uses the three men we meet in Novgorod as eye catchers in the battle. Their presence allows us to humanize the conflict; we can identify these individuals. We know their stories. The Knights are not humanized at all. Their helmets shield their faces from view. Eisenstein wasn't working from a template someone else had created; he created carefully a structure. Nevsky is the prototype hero. He makes an intelligent battle plan, finds the correct leaders to carry out the plan, defeats the enemy's leader in single combat, is aware of the big picture, and he inspires the common people.

Finally, let me mention the incredible achievement of the ice cracking. First there wasn't any ice. Second the breaks had to be in time with the musical score. Third the construction and placement of the fake ice was a huge undertaking. Finally to film it all with the primitive equipment at his disposal including the worst sound recording equipment in the Western world and make it at all believable, was nothing short of a cinematic miracle. Generally critics find "Ivan the Terrible Part I" to be his best sound film; he only made three. I disagree. It is on the border of great and near great, How I rank it at any particular moment depends upon nothing more substantial than my mood at the time.

 

[zymurg]

"Phantom of the Opera":1925,1943,2004

What we think of as the original "Phantom", isn't the original "Phantom." That was "Das Phantom Der Opera" filmed in 1916, No prints exist, but a few stills have been found. All "Phantom's" are based on a novel by Gaston Leroux. It was originally serialized in a French magazine. It was later translated into several languages and published in novel form. Theroux was a journalist who covered both crime and the arts. He was a great fan of both Poe and Conan Doyle. He wrote a number of mysteries; "Phantom of the Opera" is the best remembered.

Lon Chaney had become a world wide star in "The Hunchback of Notre Dame" in 1923. Charles Laughton was a memorable hunchback in a sound remake. Those interested in the life of Lon Chaney can view "The Man of a Thousand Faces" starring Jimmy Cagney. I highly recommend this 1957 film. Production of the "Phantom of the Opera" began at Universal in 1923. The head of Universal, Ernst Laemmle, was directly involved including directing several scenes. Probably his most important influence was in constructing the mammoth Paris Opera set. This set was on the Universal back lot until 1914. The set for "Hunchback" is seen in one sequence of "Phantom." The shooting was completed in 1923, but the film wasn't released until 1925. A preview in 1923 so shocked the audience, that the film was extensively re-cut and edited. The film experimented with shading and coloring. Both blue and red tints were used for several scenes; the famous masked ball sequence where the Phantom appears as Poe's Red Death is in color. Rupert Julian was given the job of directing the film, and his name appears on the titles, but he couldn't get along with Chaney, and another actor rode him down with a horse. Edward Sedgewick was brought into finish the film, and he and Laemmle supervised the re-cut and re-edit. The film was a major success. In 1929 the film was redone with sound-dialogue and music. Chaney wasn't available, so the Phantom doesn't speak. This was also successful, and was a major impetus for Universal's investment in horror films. The print of the sound version is the basis for all of the re-issues, but the sound was so bad that when Kino did a major reconstruction, it was considered unusable.

Today this film is remembered for Chaney's performance as the Phantom. In the original publicity for the film Chaney's mask is never shown. He devised his own makeup and it was brutal to wear. He also designed the mask. There is another famous piece of makeup, the skeleton mask for the Red Death in the masked ball
sequence. His costume is brilliant red, and his line:"Beneath your feet are the tombs of tortured men; thus doth the Red Death rebuke your merriment" is the most famous of the cards.

Let's walk through a quick synopsis of the story. The Opera is sold to two new investors; they are obliquely warned about the ghost. The owners visit the infamous box five, they see a mysterious individual's back. They exit in fear, returning a moment later to find the box empty. Then come the notes telling management, the diva, not to perform Margueritte in "Faust". The role must be performed by the understudy, Christine Daae (Mary Philbin). She performs the role to great acclaim, but Carlotta performs the role the next night despite warnings. The great chandelier falls injuring many. The Phantom appears in Christine's dressing room, they exit through the mirror. They come to his lair. He has tutored Christine, but she has never seen him. While the Phantom is playing the organ, she removes his masque. The monster is revealed. Christine is shocked and disgusted, she agrees to leave with the Phantom after one more performance. Christine makes plans to leave the theater after the performance with her true love the Viscount (Norman Kerry). There is a mysterious character wandering around the Opera; it turns out that he is Ledoux, an undercover police officer. He discovers that the Phantom is Erik who was tortured in the cellars, was found to be criminally insane, but escaped. Christine vanishes after the performance, Ledoux and the Viscount pursue the the Phantom and Christine. The Phantom had killed a stagehand before the performance. The discovery of his body sparks his brother to lead dozens of theater workers to hunt the Phantom. The film ends with the death of the Phantom and the reuniting of the Viscount and Christine.

For it's time this was a highly inventive film. The acting is stylized by later day standards, but the film still
has several real shocks. The visual images of Chaney as the Phantom are still arresting. The story is over a hundred years old, but it has been in almost constant revival. There are seven existing film versions with this title, another half a dozen based on the original story with a different title, and probably 10 TV versions both movies and mini-series. The basic story taps something in the human psyche. It also sets up several common horror tropes. The monster as a human, the ignored warnings, mob violence, and the misunderstood monster capable of redemption through love. For those 'Yarders interested in the horror genre, this is one of the grandadys of them all. Along with "Nosferatu" and Todd Browning's "The Unknown" the template for future horror films is set.

Worth viewing; next up more "Phantoms."

 

[dbmill]

"Phantom of the Opera":1925,1943,2004

What we think of as the original "Phantom", isn't the original "Phantom." That was "Das Phantom Der Opera" filmed in 1916, No prints exist, but a few stills have been found. All "Phantom's" are based on a novel by Gaston Leroux. It was originally serialized in a French magazine. It was later translated into several languages and published in novel form. Theroux was a journalist who covered both crime and the arts. He was a great fan of both Poe and Conan Doyle. He wrote a number of mysteries; "Phantom of the Opera" is the best remembered.

Lon Chaney had become a world wide star in "The Hunchback of Notre Dame" in 1923. Charles Laughton was a memorable hunchback in a sound remake. Those interested in the life of Lon Chaney can view "The Man of a Thousand Faces" starring Jimmy Cagney. I highly recommend this 1957 film. Production of the "Phantom of the Opera" began at Universal in 1923. The head of Universal, Ernst Laemmle, was directly involved including directing several scenes. Probably his most important influence was in constructing the mammoth Paris Opera set. This set was on the Universal back lot until 1914. The set for "Hunchback" is seen in one sequence of "Phantom." The shooting was completed in 1923, but the film wasn't released until 1925. A preview in 1923 so shocked the audience, that the film was extensively re-cut and edited. The film experimented with shading and coloring. Both blue and red tints were used for several scenes; the famous masked ball sequence where the Phantom appears as Poe's Red Death is in color. Rupert Julian was given the job of directing the film, and his name appears on the titles, but he couldn't get along with Chaney, and another actor rode him down with a horse. Edward Sedgewick was brought into finish the film, and he and Laemmle supervised the re-cut and re-edit. The film was a major success. In 1929 the film was redone with sound-dialogue and music. Chaney wasn't available, so the Phantom doesn't speak. This was also successful, and was a major impetus for Universal's investment in horror films. The print of the sound version is the basis for all of the re-issues, but the sound was so bad that when Kino did a major reconstruction, it was considered unusable.

Today this film is remembered for Chaney's performance as the Phantom. In the original publicity for the film Chaney's mask is never shown. He devised his own makeup and it was brutal to wear. He also designed the mask. There is another famous piece of makeup, the skeleton mask for the Red Death in the masked ball
sequence. His costume is brilliant red, and his line:"Beneath your feet are the tombs of tortured men; thus doth the Red Death rebuke your merriment" is the most famous of the cards.

Let's walk through a quick synopsis of the story. The Opera is sold to two new investors; they are obliquely warned about the ghost. The owners visit the infamous box five, they see a mysterious individual's back. They exit in fear, returning a moment later to find the box empty. Then come the notes telling management, the diva, not to perform Margueritte in "Faust". The role must be performed by the understudy, Christine Daae (Mary Philbin). She performs the role to great acclaim, but Carlotta performs the role the next night despite warnings. The great chandelier falls injuring many. The Phantom appears in Christine's dressing room, they exit through the mirror. They come to his lair. He has tutored Christine, but she has never seen him. While the Phantom is playing the organ, she removes his masque. The monster is revealed. Christine is shocked and disgusted, she agrees to leave with the Phantom after one more performance. Christine makes plans to leave the theater after the performance with her true love the Viscount (Norman Kerry). There is a mysterious character wandering around the Opera; it turns out that he is Ledoux, an undercover police officer. He discovers that the Phantom is Erik who was tortured in the cellars, was found to be criminally insane, but escaped. Christine vanishes after the performance, Ledoux and the Viscount pursue the the Phantom and Christine. The Phantom had killed a stagehand before the performance. The discovery of his body sparks his brother to lead dozens of theater workers to hunt the Phantom. The film ends with the death of the Phantom and the reuniting of the Viscount and Christine.

For it's time this was a highly inventive film. The acting is stylized by later day standards, but the film still
has several real shocks. The visual images of Chaney as the Phantom are still arresting. The story is over a hundred years old, but it has been in almost constant revival. There are seven existing film versions with this title, another half a dozen based on the original story with a different title, and probably 10 TV versions both movies and mini-series. The basic story taps something in the human psyche. It also sets up several common horror tropes. The monster as a human, the ignored warnings, mob violence, and the misunderstood monster capable of redemption through love. For those 'Yarders interested in the horror genre, this is one of the grandadys of them all. Along with "Nosferatu" and Todd Browning's "The Unknown" the template for future horror films is set.

Worth viewing; next up more "Phantoms."

I’ve seen the 1925 Phantom of the Opera a number of times, and I’ve seen Lon Chaney in a few other movies as well. Chaney was a great silent actor, but in Phantom he simply puts on a phenomenal performance. A very good film that is well worth seeing just on the basis of what Chaney does on screen, even if you are just watching his silhouette at times.

 

[zymurg]

"Phantom of the Opera"-Arthur Lubin-1943

This is a strange film; it is the first "Phantom" I saw. It was a commercial success in 1943, and it was also a success when it was reissued in 1949. Universal had begun working on a new "Phantom" in 1935. Scripts were
written, actors were prospectively chosen, but something always got in the way. I think that most of the writing about this version undervalues the influence of producer William Wenger. He chose Lubin, and it was he who settled on the direction for the script. Technicolor was still relatively new; this was only Universal's second technicolor. Technicolor demanded that both a color supervisor and a cameraman be on set during filming. The cameraman was well liked, but the color specialist was detested. In order for the proper technicolor to be achieved, sets were frequently repainted. The film was nominated for four technical Oscars and won two.

The cast was certainly unusual for a horror movie. Nelson Eddy(Anatole Garvan) headed the cast. He was best known for his operettas with Jeanette McDonald. Claude Rains, coming off "Casablanca", had established himself as a versatile and expert supporting actor. He had one classic horror credit James Whale's "The Invisible Man." Susanna Foster, a relative unknown, was cast as Christine DuBois. Universal wanted Deanna Durbin, but she was so successful that she could get away with turning down the role. The studio had a problem; they were never sure what kind of film they wanted to make. They wanted to make an operatic melodrama with comedy and horror elements. Rains spent a month working on violin and piano playing. He was reluctant to be on screen with the "PHantom's" facial scars.

The film opens with a production of "Marthe". Christine opts out of a curtain call to meet boyfriend #1, Raoul Dubert, a high level police officer. Claudin(Rains) isn't playing the violin up to orchestra standards. Both are called before the Music Director/Conductor after the performance. Christine goes first. The maestro tells her:"You must choose between an operatic career and a so called "normal life." You can't do justice to both." Claudin is asked to play for the maestro. He plays a lullaby from his native Provence perfectly, but he admits to cramping in one hand. He is fired.

There is a scene at a vocal teacher's studio. Christine is taking her lesson, Claudin is watching in hiding. He has been paying for her lessons; he is broke and facing eviction and the end of Christine's lessons. He only has one option left, he must sell his piano concerto based on the lullaby's melody. He goes to the music publisher's office. He forces his way into the office. One of the publisher's is working on his etchings with his secretary. Claudin hears his concerto being played in the next room. He believes that the publisher has stolen his work. He strangles the publisher; the secretary throws acid in his face. Claudin escapes through the sewers, The Phantom is born.

The Phantom sets up in the opera cellars, and he sets about nurturing Christine's career. He drugs the primadonna Carlotta. She misses the performance, and Christine stars in her absence. Carlotta accuses Raoul the singing boyfriend. She is convinced that there is no real evidence that he is the criminal, but she insists that Christine is no longer to be her understudy. The Phantom drops the chandelier on the audience. When that proves insufficient, he murders the diva and her maid. The masked Phantom abducts Christine down into the depths of the Opera. They are followed by the two hopeful suitors. Above in the Opera Claudin hears his piano concerto being played by Franz List. The is a sequence where we see both List and Claudin playing the concerto in a split screen. Christine unmasks the Phantom, the romeos arrive. The Phantom is prepared to attack with a sword. Raoul,the policeman, aims and fires a pistol, but Anatole, the baritone, grabs his arm. The shot goes into the ceiling. The cellar collapses, Christine and the two romeos escape, but the collapse kills(?) the Phantom. A sequel was announced with much of the same cast, but for a variety of reasons was never made. A brief epilogue shows Christine after a triumph leaving both suitors for a continued career in the opera. This is ironic because Susanna Foster didn't really like performing, despite her talent and opportunities for concerts, more films, and a potential career in opera.

Today this remains a visually beautiful film, with excellent vocal performances, fine music directed by Edgar Ward and sound recording which was a new industry standard. For fans of classic horror, this is a miss. The problem lies in the story. Think Claude Rains in "The Invisible Man", show him from the start as the Phantom, masked and mysterious teaching Christine. Rains was noted for his exceptional voice; it wasn't used for real effect. What this Phantom needs is more Phantom.

 

[dbmill]

"Phantom of the Opera"-Arthur Lubin-1943

This is a strange film; it is the first "Phantom" I saw. It was a commercial success in 1943, and it was also a success when it was reissued in 1949. Universal had begun working on a new "Phantom" in 1935. Scripts were
written, actors were prospectively chosen, but something always got in the way. I think that most of the writing about this version undervalues the influence of producer William Wenger. He chose Lubin, and it was he who settled on the direction for the script. Technicolor was still relatively new; this was only Universal's second technicolor. Technicolor demanded that both a color supervisor and a cameraman be on set during filming. The cameraman was well liked, but the color specialist was detested. In order for the proper technicolor to be achieved, sets were frequently repainted. The film was nominated for four technical Oscars and won two.

The cast was certainly unusual for a horror movie. Nelson Eddy(Anatole Garvan) headed the cast. He was best known for his operettas with Jeanette McDonald. Claude Rains, coming off "Casablanca", had established himself as a versatile and expert supporting actor. He had one classic horror credit James Whale's "The Invisible Man." Susanna Foster, a relative unknown, was cast as Christine DuBois. Universal wanted Deanna Durbin, but she was so successful that she could get away with turning down the role. The studio had a problem; they were never sure what kind of film they wanted to make. They wanted to make an operatic melodrama with comedy and horror elements. Rains spent a month working on violin and piano playing. He was reluctant to be on screen with the "PHantom's" facial scars.

The film opens with a production of "Marthe". Christine opts out of a curtain call to meet boyfriend #1, Raoul Dubert, a high level police officer. Claudin(Rains) isn't playing the violin up to orchestra standards. Both are called before the Music Director/Conductor after the performance. Christine goes first. The maestro tells her:"You must choose between an operatic career and a so called "normal life." You can't do justice to both." Claudin is asked to play for the maestro. He plays a lullaby from his native Provence perfectly, but he admits to cramping in one hand. He is fired.

There is a scene at a vocal teacher's studio. Christine is taking her lesson, Claudin is watching in hiding. He has been paying for her lessons; he is broke and facing eviction and the end of Christine's lessons. He only has one option left, he must sell his piano concerto based on the lullaby's melody. He goes to the music publisher's office. He forces his way into the office. One of the publisher's is working on his etchings with his secretary. Claudin hears his concerto being played in the next room. He believes that the publisher has stolen his work. He strangles the publisher; the secretary throws acid in his face. Claudin escapes through the sewers, The Phantom is born.

The Phantom sets up in the opera cellars, and he sets about nurturing Christine's career. He drugs the primadonna Carlotta. She misses the performance, and Christine stars in her absence. Carlotta accuses Raoul the singing boyfriend. She is convinced that there is no real evidence that he is the criminal, but she insists that Christine is no longer to be her understudy. The Phantom drops the chandelier on the audience. When that proves insufficient, he murders the diva and her maid. The masked Phantom abducts Christine down into the depths of the Opera. They are followed by the two hopeful suitors. Above in the Opera Claudin hears his piano concerto being played by Franz List. The is a sequence where we see both List and Claudin playing the concerto in a split screen. Christine unmasks the Phantom, the romeos arrive. The Phantom is prepared to attack with a sword. Raoul,the policeman, aims and fires a pistol, but Anatole, the baritone, grabs his arm. The shot goes into the ceiling. The cellar collapses, Christine and the two romeos escape, but the collapse kills(?) the Phantom. A sequel was announced with much of the same cast, but for a variety of reasons was never made. A brief epilogue shows Christine after a triumph leaving both suitors for a continued career in the opera. This is ironic because Susanna Foster didn't really like performing, despite her talent and opportunities for concerts, more films, and a potential career in opera.

Today this remains a visually beautiful film, with excellent vocal performances, fine music directed by Edgar Ward and sound recording which was a new industry standard. For fans of classic horror, this is a miss. The problem lies in the story. Think Claude Rains in "The Invisible Man", show him from the start as the Phantom, masked and mysterious teaching Christine. Rains was noted for his exceptional voice; it wasn't used for real effect. What this Phantom needs is more Phantom.

The 1943 Phantom is watchable, and it has Claude Rains in it which is a plus for me. It's not a bad movie, but it simply doesn't hold a candelabra to the Lon Chaney version.

 

[zymurg]

"Phantom of the Opera"-Joel Schumacher-2004

I wanted to like this film. It's not that I didn't expect music. Opera figures prominently in the title, and stories from such diverse places as 'The Producers" and "The Lion King" have been made into musicals. This was massively successful on Broadway, and I liked "La Miz." It gets off to a fine start with the auction at the decrepit Opera Populaire filmed in muted black and white. I like having the Phantom appear early and often.
The Phantom back story, which appears late, is credible. I like Simon Callow and Ciaran Hinds as the new owners. The famous box five re-appears and having the Phantom on salary is a nice touch. The biggest problem is the Phantom. Some times it is in the music; when you use organ music that much; I expected to see the Phantom at the organ.

Andrew LLoyd Webber has the ability to write hit musicals, but it is a key miss in the story which mortally wounds this itteration of the legend. The Phantom is not a romantic hero, not for 2 and a half hours. I have extolled the willing suspension of disbelief as part of what the viewer must bring to the film, but we do that for the payoff. In the super rare occasions where a film doesn't give us what we personally are led to expect, but still is great. There has to be something else; think "Rashomon." It gives us a world of lies and unanswered questions. Can we believe anything? Is "Rashomon " a great film? Yes, the questions the film raises and refuses to answer could leave the viewer dissatisfied, but we have experienced the film.

I watched this film twice with a few days between viewings. The experience doesn't justify tampering with the world of the Phantom. One final note, the film ends in the muted black and white at the grave. The Count leaves the monkey music box at the grave. He sees the red rose wrapped in the black ribbon and the ring he bought for Christine. The Phantom still lives, and there is the implication that the Phantom is the great romantic love of Christine Daee. Just not credible for me; my experience of this film says this ending is contrived and false.

 

[zymurg]

"Great Expectations"-David Lean-1946

Dickens is an unending source of material for Masterpiece Theater, the length of his books cries out for the mini-series format. Most of Dickens' novels began as magazine serials. This contributes to their length and plot turns. Dickens became a cultural superstar in his lifetime; he became very wealthy. In addition to serials, novels he gave public readings from his works. These and his lectures were paid ticket events. He even had an agency to book his tours to the cultural hinterlands like America.

Lean began his career in films as an editor. His first directing effort was with Noel Coward on "In Which We Serve." He directed several of Coward's works most notably "Brief Encounter." Lean co-wrote the script with Ronald Neame. A two hour script of "Great Expectations" means a lot of cuts, while "Great Expectations" has been re-made many times in regular films and long form television adaptations ,this is considered the finest film version.

We begin our journey with young Pip, an orphan, living with his sister and her blacksmith husband, Joe Gargery (Bernard Miles). Pip is visiting the cemetery when he is confronted by the escaped convict Magwich (Finlay Currie). Magwich demands that Pip return the next morning with a file and vittles. Pip complies, but a few hours later he is searching the mud flats for Magwich and another escaped convict. The convicts are captured when Magwich is fighting with the other convict his mortal enemy. Sometime later Pip is invited to come play for Miss Havisham (Marita Hunt). Miss Havisham was left at the altar by her fiancee. Her life stopped at this point; all the clocks in the house are stopped at eight forty. The places for the wedding banquet and even the rotting rat infested cake is still on the table. It is here that Pip meets the love of his life, Estrella. She had been adopted by Miss Havisham and raised to be a scourge to men. She finds Pip to be coarse and common, but his adoration never wavers despite his clear vision of her toying with him.

Pip visits Miss Havisham for years pushing her wheelchair. On his 14th birthday he is apprenticed to his brother-in-law the blacksmith. Estrella is sent to France to be educated as a lady. Some years later Miss Havisham's lawyer, Mr. Jaggers (John L. Sullivan) arrives with an offer from a mysterious benefactor. Pip
is to come to London to be educated as a gentleman with great expectations. He must keep his name and is not given the identity of his benefactor. Pip believes it to be Miss Havisham. He has rooms with Herbert Pocket (Alec Guiness). Pip (John Mills) is tutored by Herbert and his father. He becomes full of himself, and when Joe comes to London, he is dismissive. He does return to his home area where Estrella is returned having completed her education.

Estrella makes her debut in society; she has many admirers. Pip still desires to make her his wife despite all warning signs. Meanwhile, Magwich returns from Australia where he has made a fortune. He is Pip's benefactor. His voyage to England to see Pip is dangerous; he could be arrested and sent back to prison.
The final third of the film resolves all the conflicts, but Magwich and Havisham die, and Pip and Estrella (Valarie Hobson) have an opening for happiness.

Mr. Jaggers, the lawyer, has served Pip both in the management of his funds, but also as a guide to becoming a more understanding man. He has a great line: "Take nothing on its looks, take everything on evidence. There is no better rule." Pip matures in the final third of the film; he sees the evidence clearly and acts upon it to help others.

The film gives us some remarkably evocative settings most memorably Miss Havisham's decaying mansion and Jaggers' Law office. The film won Oscars in technical areas, but to my mind the glory is in the acting of the supporting players. Havisham, Jaggers, Magwich, and Gargery are memorable and brilliantly played. The adult Pip and Estrella are good but not great. In fact their younger versions are superior. While Lean is remembered today mainly for his epics: "Bridge on the River Kwai," "Lawrence of Arabia," and "Doctor Zhivago," his earlier work like "Great Expectations" is also world class. This is available on Amazon Prime if you are a member. Great film technically, top story, and great acting make this a classic.

 

[dbmill]

"Great Expectations"-David Lean-1946

Dickens is an unending source of material for Masterpiece Theater, the length of his books cries out for the mini-series format. Most of Dickens' novels began as magazine serials. This contributes to their length and plot turns. Dickens became a cultural superstar in his lifetime; he became very wealthy. In addition to serials, novels he gave public readings from his works. These and his lectures were paid ticket events. He even had an agency to book his tours to the cultural hinterlands like America.

Lean began his career in films as an editor. His first directing effort was with Noel Coward on "In Which We Serve." He directed several of Coward's works most notably "Brief Encounter." Lean co-wrote the script with Ronald Neame. A two hour script of "Great Expectations" means a lot of cuts, while "Great Expectations" has been re-made many times in regular films and long form television adaptations ,this is considered the finest film version.

We begin our journey with young Pip, an orphan, living with his sister and her blacksmith husband, Joe Gargery (Bernard Miles). Pip is visiting the cemetery when he is confronted by the escaped convict Magwich (Finlay Currie). Magwich demands that Pip return the next morning with a file and vittles. Pip complies, but a few hours later he is searching the mud flats for Magwich and another escaped convict. The convicts are captured when Magwich is fighting with the other convict his mortal enemy. Sometime later Pip is invited to come play for Miss Havisham (Marita Hunt). Miss Havisham was left at the altar by her fiancee. Her life stopped at this point; all the clocks in the house are stopped at eight forty. The places for the wedding banquet and even the rotting rat infested cake is still on the table. It is here that Pip meets the love of his life, Estrella. She had been adopted by Miss Havisham and raised to be a scourge to men. She finds Pip to be coarse and common, but his adoration never wavers despite his clear vision of her toying with him.

Pip visits Miss Havisham for years pushing her wheelchair. On his 14th birthday he is apprenticed to his brother-in-law the blacksmith. Estrella is sent to France to be educated as a lady. Some years later Miss Havisham's lawyer, Mr. Jaggers (John L. Sullivan) arrives with an offer from a mysterious benefactor. Pip
is to come to London to be educated as a gentleman with great expectations. He must keep his name and is not given the identity of his benefactor. Pip believes it to be Miss Havisham. He has rooms with Herbert Pocket (Alec Guiness). Pip (John Mills) is tutored by Herbert and his father. He becomes full of himself, and when Joe comes to London, he is dismissive. He does return to his home area where Estrella is returned having completed her education.

Estrella makes her debut in society; she has many admirers. Pip still desires to make her his wife despite all warning signs. Meanwhile, Magwich returns from Australia where he has made a fortune. He is Pip's benefactor. His voyage to England to see Pip is dangerous; he could be arrested and sent back to prison.
The final third of the film resolves all the conflicts, but Magwich and Havisham die, and Pip and Estrella (Valarie Hobson) have an opening for happiness.

Mr. Jaggers, the lawyer, has served Pip both in the management of his funds, but also as a guide to becoming a more understanding man. He has a great line: "Take nothing on its looks, take everything on evidence. There is no better rule." Pip matures in the final third of the film; he sees the evidence clearly and acts upon it to help others.

The film gives us some remarkably evocative settings most memorably Miss Havisham's decaying mansion and Jaggers' Law office. The film won Oscars in technical areas, but to my mind the glory is in the acting of the supporting players. Havisham, Jaggers, Magwich, and Gargery are memorable and brilliantly played. The adult Pip and Estrella are good but not great. In fact their younger versions are superior. While Lean is remembered today mainly for his epics: "Bridge on the River Kwai," "Lawrence of Arabia," and "Doctor Zhivago," his earlier work like "Great Expectations" is also world class. This is available on Amazon Prime if you are a member. Great film technically, top story, and great acting make this a classic.

Another movie that I haven't seen in quite some time, but no question this is a great film. As mentioned,there is some great acting here, but my for me Finlay Currie as especially memorable as Magwich.

 

[zymurg]

"Beckett-Peter Glenville-1965

The film focuses on two characters Henry II (Peter O'Toole) and Thomas Beckett (Richard Burton). Both O'Toole and Burton received Oscar nominations for best actor. John Gielgud was nominated for best supporting actor.
It received nominations for picture, director, score, and sound. It won only for best adapted screenplay. The film was adapted from Jean Anouilh's play. The play starred Laurence Olivier (Beckett) and Anthony Quinn (Henry). Quinn won a Tony. Glenville directed the play on Broadway.

Before I cover the film itself; I am going to mention several areas of historical inaccuracy. Beckett was Norman and not Saxon. Anouilh, the play's author, used an outdated history as a source. Glenville invented the murder of a bad clergyman. The real dispute was over the so called Clarendon Constitution which attempted to limit the power of ecclesiastical courts. The film implies that Beckett and Henry II were lifelong friends. That wasn't the case.

The film opens with Henry II kneeling before Beckett's tomb and having a one sided discussion about their relationship. At the end of the film Henry is scourged by monks. This was the punishment for his part in the murder of Beckett. The balance of the film details the shifting relationship between Henry and Beckett. We see them first escaping from bedding a girl. They exit through the window and ride away. Next while hunting they take shelter from the rain,and Henry is going to bed another girl. Beckett asks for the girl, and Henry agrees, but says he will ask something in return. Beckett doesn't realize that Henry will ask for his wife.She commits suicide rather than be bedded by the king.(While shooting the film, O'Toole convinced Elizabeth Taylor to take his film wife's place. She was naked under a blanket. Burton was not amused.)

Throughout the film, Henry is depicted as a man of great passions, and Beckett is the sober intellectual. Henry loves Beckett, Beckett love nothing, not even honor. He is loyal to Henry. Henry makes him Chancellor of England and gives him the Great Seal. One of the big problems Henry is facing as king is the growing power of the Church. When the Archbishop of Canterbury, head of the Church in England, dies, Henry appoints Beckett. Beckett had to be ordained as a priest, only then could he become Archbishop. He still held the position of Chancellor. Beckett changes, he values his newfound relationship with God and the Church more than his relationship with Henry. He gives up the Chancellorship.

The conflict between them swiftly becomes realm threatening. A baron captures a rogue priest who is guilty of several crimes not specified, but rape is implied. Beckett excommunicates the baron. Henry sends his chief judicial officer to arrest him. Beckett escapes to France and enlists the support of Charles VII, King of France (John Gielgud). Beckett eventually leaves France and goes to Italy to enlist the Pope's aid. The Pope doesn't want the conflict to continue; so he supports negotiations. Beckett returns to England, but the conflict continues. Henry has the great ahistorical line: "Will no one rid me of the meddlesome priest?" Four knights take up the task and murder Beckett in the cathedral during vespers.

The screenplay is excellent, the acting is first rate, but for me O'Toole is a little over the top. The film is almost all dialogue. O'Toole gets another chance to play Henry II in "The Lion in Winter" in 1968. Here Henry while still passionate, has more self control. An argument can be made that O'Toole's great acting and numerous snubs by the Academy is the greatest collective failure of the Academy. Still "Beckett" has not worn as well as his other nominated roles. The film seems overly long perhaps because of its total reliance on dialogue. Recommended, but this isn't great.

Next up: "Hair" then a concert film.

 

[zymurg]

"Hair"-Milos Forman-1979

I saw the stage production in London in the late 60's. My memory of the show is dim. Milos Forman saw it in NYC. He tried to mount a production in Czechoslovakia in 1968, but the Russians invaded. It took him more than a decade to get a film made. The rights to the stage play cost over a million. The casting took over a year, and those cast were relative unknowns. Michael Butler produced both the movie and the stage version.
Forman hired Michael Weller to write the screenplay. His story differs dramatically from the stage version. In the stage version Claude Bukowski is the leader of an East Village commune. In the movie he is a draftee from Oklahoma. Some songs are cut, and the order is re-arranged. The writers of the stage version, Ragni and Rado,
hated the screen version. They believed the screen version portrayed hippies as odd balls, and ignored their relationship to the Viet Nam protest movement. The film does contain shots of draft cards being burned ceremonially and mass protests.

The meeting of the hippie group led by Berger(Treat Williams) and the draftee Bukowski (John Savage) sets the stage for the entire story. Visually the Twyla Thorpe choreography where the mounted policemen's horses dance in step with the music and the dancers is unforgettable. The core group of hippies, led by Berger, are forces of chaos, they disrupt the established order. They change Bukowski's life. First they hire a horse to ride in Central Park. Somehow Claude ends up on the horse trick riding to try and impress Shelia (Beverley D'Angelo) a wealthy attractive girl. It is love at first sight for Claude. Berger organizes a foray to disrupt a wedding where Shelia is a bridesmaid. Claude has only a few hours before his physical and induction. After the wedding he reports and it is off to Nevada for training. He writes Shelia; she shows the letter to Berger, and it is off to Nevada in a car belonging to Shelia's brother. The group is bigger; Lafayette's fiancee shows up with Lafayette Jr. The group plans a picnic for Claude before he ships out for Vietnam. How to get Claude off the base? Berger has a plan which involves getting the uniform and car of a sergeant. He is tricked by Shelia; the sergeant is captured. His clothes and car are borrowed. Berger is off to the camp.

Meanwhile at the camp; training and boot camp are over. There is a parade and a general (Nicholas Ray, the famous director) is addressing the troops. The sound system has been captured by someone and rock music is playing at full volume. The system is destroyed by soldiers so the General can continue his remarks. Berger enters the camp and gets Claude to the picnic. Unfortunately, he has to stand in for Claude so that there will be a Bukowski to answer in roll call. Claude doesn't make it back in time, and Berger is off to Vietnam. Berger dies, and the film ends with a visit to a vast military graveyard. We see Berger's tombstone, and then we have a massed protest with the music "Let the Sunshine In."

Forman's film was shown at Cannes, but wasn't part of the judging. It had already opened in the US. There were literally thousands of extras in some of the New York scenes. There were hundreds of extras at the graduation/parade in Nevada, and tens of thousands(not extras) in the final scene. Few of you are old enough to remember the old TV cop show, "The Naked City." " There are 8 million stories in the Naked City, and this is one of them." This one story of the Vietnam era; we have all seen some of the others on film, "The Deer Hunter" and Apocalypse Now" for instance. Forman is a gifted and intelligent film maker. This film evokes one aspect of an era. "One, two, three, four, what are we fighting for..." sing Country Joe and the Fish; in "Generation Kill"this is one of the songs sung in the Humvee.

You don't have time to take a breath in this film, watch it, then pause perhaps to remember if you're an old fart like me, for the youngins this is a Wayback Machine.

Next: "Stop Making Sense" This is not meant to imply that I've made any sense in this commentary.

 

[zymurg]

"Stop Making Sense"-Jonathan Demme-1984

I really like this film, but I liked the Talking Heads. What are the reasons that many critics think this is the greatest concert film? First there is almost no wasted time. Second by using wide shots all the time, you really
feel like you are in the audience. Third the sound is impeccable. Fourth the extras, the back projections and the fat suit really add to the performance/experience. Finally, the band gives us a super energized performance. Still not convinced, well there some pretty great songs beginning with "Psycho Killer." Byrne emerges and sings solo with an acoustic guitar. In the background the roadies are setting up. More members are added until "Burning Down the House" is performed with the full compliment of artists.

There is no doubt that Byrne and Demme jointly organized the performance. However, the band had the final say. Demme wanted to shoot some material on a specially constructed stage; the band said no because they wanted the entire film to be performed before a concert audience. I don't want to venture into the bottomless pit that is this band's history, but I think it is worth mentioning that three of the members met at the Rhode Island School of Design, and that in their early performances in New York they just stood there and played. Well let's see; "Once in a Lifetime" and "Take Me to the River", Genius of Love (Tom, Tom Club), and the first song in the Fat Suit is "Girlfriend is Better." Byrne introduces the band members and the roadies.

That's pretty much it; it's on Amazon Prime. Next up: "The Bitter Tea of General Yen."

 

[Waquoit]

Second by using wide shots all the time, you really
feel like you are in the audience.

That's a good point. Too many tight close-ups in most concert footage,

Anyone else catch this show live at the Agora in West Hartford?

 

[dbmill]

That's a good point. Too many tight close-ups in most concert footage,

Anyone else catch this show live at the Agora in West Hartford?

While I never saw the Talking Heads together in concert, they are one of my favorite bands. I did see David Byrne at the Garde Theater in New London on my birthday in 2004. Byrne was touring in support of his Grown Backwards album. I was a little hesitant about going, as Byrne had a group with him called the Tosca Strings, and at the time I didn't care too much for adding strings to rock music. I was wrong with that one, as the Tosca Strings offered terrific support to what Byrne did on stage, which was a combination of Talking Heads material and his solo stuff. It was one of the best concerts that I have ever been to.