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Monday, October 31, 2016
Duffy (1968)
Saturday, October 29, 2016
Stories Of Lost Souls (2005)
Hedda Gabler (1962)
Friday, October 28, 2016
Jackie (2016)
In 1963 shortly after the assassination of her husband (Caspar Phillipson), Jacqueline Kennedy (Natalie Portman) gives an interview to a reporter (Billy Crudup) for LIFE magazine reflecting on the death of her husband, his legacy, her legacy while we look at the period between the assassination and his funeral and her state of mind. Directed by Pablo Larrain, a Chilean director making his English language debut. It's difficult to assess this as cinema, as a film because it is so dominated by a single performance that defines the film and puts everything else in her shadow. The buzz on Portman's performance was very good but I was not prepared for the sheer brilliance of it. When playing real people who are known to the public, it can be a trap to do an imitation of the person rather than inhabiting them. Portman inhabits Jackie Kennedy. How accurate is the film? I don't know, I don't go to the movies for history lessons (and I hope no one else does either). It's clear that the film took artistic license. For example, one of the highlights of the film is a distraught Jackie listening to the cast album of CAMELOT while trying on different dresses and jewelry and wandering around an empty White House when obviously it would be filled with staffers and secret service during that period. Mica Levi's underscore is the best film score I've heard all year. With Peter Sarsgaard as Robert Kennedy, Greta Gerwig, John Hurt, Richard E. Grant, Max Casella, John Carroll Lynch and Beth Grant as Lyndon and Ladybird Johnson.
Thursday, October 27, 2016
The Swiss Conspiracy (1976)
A Touch Of Class (1973)
A chance meeting between a married American (George Segal) living in London and a British divorcee (Glenda Jackson) begins as an affair but becomes complicated when love enters the picture. Directed by Melvin Frank (THE COURT JESTER), this pedestrian "adult" romcom is probably most remembered today for Glenda Jackson's inexplicable Oscar win for best actress. Oh, it's sophisticated and fairly intelligent but it's also contrived. Naturally, Segal is given a nagging wife (Hildegard Neil) so the adultery can seem more sympathetic and while we see Jackson with her two children at the beginning, we never see them for the rest of the movie so we're not reminded that she's a mother although I couldn't help but think of the enormous babysitting tab she was running up while she sets up housekeeping and cooks Coq Au Vin suppers for her lover. Segal is an old hand at this type of thing but while Jackson proved she could do comedy with her hilarious cameo in THE BOY FRIEND, here she's rather brittle. Deadpan deliveries are one thing but some of her line readings are downright flat. With Paul Sorvino and K. Callan.
Wednesday, October 26, 2016
Island Of Lost Souls (1932)
On his way to meet his fiancee (Leila Hyams), a man (Richard Arlen) finds himself stranded on a remote island after his ship is sunk. To his horror, he discovers that the doctor (Charles Laughton) who rules over the island with an iron fist is conducting ghastly experiments! Based on the 1896 novel by H.G. Wells and directed by Erle C. Kenton. Welles' novel has been remade officially twice, in the 70s with Burt Lancaster and the 90s with Marlon Brando. Unofficially, it's been ripped off many times. This pre-code version remains the most effective. Like Browning's FREAKS, it's an unsettling and disturbing piece of horror film making. Kudos must also go to Karl Struss's (Murnau's SUNRISE) expressionistic cinematography and the marvelous art direction by Hans Dreier. The acting is rather crude but Laughton brings a quiet malevolence to his delusional Dr. Moreau. This is the movie that coined the phrase, "The natives are restless tonight." With Kathleen Burke, Arthur Hohl and Bela Lugosi as the mutant Sayer Of The Law.
Il Buono, Il Brutto, Il Cattivo (aka The Good, The Bad And The Ugly) (1966)
During the Civil War between the states, three gunslingers known as the good (Clint Eastwood), the bad (Lee Van Cleef) and the ugly (Eli Wallach) work at odds with each other, sometimes in an uneasy alliance as they look for a graveyard where $200,000 in Confederate gold is hidden. Sergio Leone's epic western (3 hours long) wasn't embraced by mainstream critics when first released. The casualness of the violence and brutality was considered "vulgar" but audiences flocked to it and it paved the way for Peckinpah's WILD BUNCH. Today, the critical consensus is that it is one of the screen's great westerns. Of course, I've seen the film before but this time around I really appreciated Leone's use of the wide screen format (in collaboration with his cinematographer Tonino Delli Colli) which is stunning. Every frame a master composition that could hang on a museum wall. Leone's visuals are the thing here and very often there are long stretches of silence but the narrative continues, dialog isn't missed. Ennio Morricone's score is one of the best film scores ever written and it becomes as important a character as the three leads. The "ecstasy of gold" sequence which runs about 6 minutes with no dialog, just Morricone's score accompanying Wallach's search for the grave is justifiably famous. Speaking of Wallach, his performance is terrific and he really should have been nominated for an Oscar (movies like this weren't considered Oscar material) and he would be today! With Luigi Pistilli and Chelo Alonso.
Tuesday, October 25, 2016
The Holcroft Covenant (1985)
Les Amants De Verona (aka The Lovers Of Verona) (1949)
Monday, October 24, 2016
Fallen Angel (1945)
A drifter (Dana Andrews) arrives in a small California coastal town and immediately gets the hots for a sexy but cold hearted waitress (Linda Darnell at her sluttiest). He concocts a plan to marry a well off spinster (Alice Faye), get her money, dump her and marry the waitress. But when murder enters the picture, he's the prime suspect! Based on the novel by Marty Holland and directed by Otto Preminger. This B&W noir may not have the reputation of his LAURA but it's still pretty good. This was when Preminger still made tight economical features before the bloat set in during the late 1950s. Unfortunately when Darnell leaves the picture, some of the film's juice goes with her. Faye's angelic understanding doormat is no substitute for Darnell's sultry femme fatale. Though it's well done, as a whodunit it's on the weaker side as the element of surprise is missing for it's not too difficult to guess the murderer. The moody cinematography is by Joseph LaShelle (THE APARTMENT) and the underscore by David Raksin (LAURA) gives the film a needed lift. Faye left the movies after this film and wouldn't make another movie for 17 years. With Charles Bickford, Anne Revere, Percy Kilbride and Bruce Cabot.
Calling Bulldog Drummond (1951)
Sunday, October 23, 2016
Lion (2016)
A child (Sunny Pawar) from a small village in India gets separated from his older brother (Abhishek Bharate) and accidentally finds himself on a train to Calcutta. Unable to identify where he is from or who his family is, he lives on the streets of Calcutta for awhile before being put in an orphanage. He is eventually adopted by an Australian couple (Nicole Kidman, David Wenham). But when he grows into a young man (Dev Patel, SLUMDOG MILLIONAIRE), he yearns for the family he lost. Based on a true story and directed by Garth Davis in his feature film directorial debut. The first part of the film is astonishing with some of the raw power of early De Sica. When we get to the section where Patel takes over, it becomes more conventional and not as interesting. My interest shifted away from Patel and toward Kidman's mother and Divian Ladwa as his troubled adopted brother. The film eventually builds to an emotional climax where I felt slightly manipulated and while the audience around me sobbed, I didn't cry. But damn if the film didn't have an ace up its sleeve saved up for the very end and it got me too. Bring kleenex, tears will be shed. Kidman has a good shot at a supporting actress nomination. With Rooney Mara and Priyanka Bose.
Saturday, October 22, 2016
Loving (2016)
In 1958 Virginia, a white man (Joel Edgerton) and a black woman (Ruth Negga) are arrested and imprisoned for breaking Virginia's anti-miscegenation laws by marrying. They are quiet unsophisticated country folk who just want to live their life in peace and raise a family in a home of their own. Written and directed by Jeff Nichols (TAKE SHELTER) and based on the landmark 1967 Loving vs. Virginia case which went all the way to the Supreme Court and a historic ruling. This film is different from anything Nichols has ever done and something I suspect even the Nichols haters (and I've met a few) would like. At its core, this is a love story. Its power lies in its simplicity and Nichols doesn't impede the telling with heavy handed lecturing. This isn't a mediocrity like GUESS WHO'S COMING TO DINNER? with Sidney Poitier as a famous doctor any white girl would be lucky to get and set among posh San Franciscans. These are real people struggling to survive against almost insurmountable odds. But always at its center, the love story of Richard and Mildred Loving. The performances by Edgerton and Negga are impeccable though perhaps it's ironic that something so American are played by Australian (Edgerton) and Irish (Negga) actors. A subtle telling of a still pertinent subject on marriage rights. With Michael Shannon, Marton Csokas and Nick Kroll.
Friday, October 21, 2016
How To Save A Marriage And Ruin Your Life (1968)
Die Ehe Der Maria Braun (aka The Marriage Of Maria Braun) (1979)
In post WWII Germany, a woman (Hanna Schygulla) remains true to the man (Klaus Lowitsch) she was married to for only 2 days before he left to fight in the war. Emotionally true to their love but not physically true as she does what she has to in order to survive and even succeed in the postwar years. Directed by Rainer Werner Fassbinder, this was his breakthrough film in the sense of international recognition combined with box office success. Some look to it as an allegory of Germany itself during its post war years but for me, it works quite well at face value, the destruction of a woman's soul when she strays from her purest intent. Schygulla is marvelous here, her performance a myriad of mysterious and conflicting layers. But unfortunately the rest of the cast isn't up to her level. Indeed, some of the supporting performances are downright amateurish. Considered the first of a trilogy but I find it far superior to the two that followed, LOLA and VERONIKA VOSS. With Ivan Desny, Gisela Uhlen and Gottfried John.
Thursday, October 20, 2016
Hallelujah I'm A Bum (1933)
Tender Mercies (1983)
A once famous country and western singer (Robert Duvall) finds himself stranded in a small roadside motel after a night of drinking. Without funds, he offers to work off the money he owes to the young widow (Tess Harper) who owns the motel. With her help, he begins a long road to recovery. Directed by Bruce Beresford (DRIVING MISS DAISY) from an original screenplay by Horton Foote. Foote (TRIP TO BOUNTIFUL) has a feel for characters like these and the terrain they inhabit. They're the real thing and he never condescends to them, they're allowed their complexities rather than being made "simple" because they're country people. Foote's story, however, is deceptively simple. It's a quiet unassuming film with a lot going on. Duvall's Oscar winning performance is the film's linchpin, his best work but the rest of the cast are all very good. At first, I thought Harper's role was underwritten and now I'm not sure if I was wrong or it's just that Harper brings a strong authenticity to the part. With Betty Buckley (excellent), Ellen Barkin, Wilford Brimley, James Gleason and Allan Hubbard.
My Man Godfrey (1957)
Wednesday, October 19, 2016
Theater Of Blood (1973)
A group of London theater critics find themselves slowly being killed off one by one in the manner of Shakespeare's plays. It would seem the person with the biggest motive would be the renowned Shakespearean actor Edward Lionheart (Vincent Price) except that he's dead ..... or is he? Directed by Douglas Hickox, this is a devilishly clever horror comedy. Price clearly relishes hamming it up as Lionheart and the film balances wit, horror and even poignance equally well. The film is a macabre lark and it shouldn't be looked at too closely as there things that just don't make sense. For example, how did the decapitated head get from the murdered man's bedroom to Ian Hendry's door? Or why though supposedly under police protection, Hendry is allowed unaccompanied to attend a fencing class which turns deadly. But a movie like this isn't supposed to be put under a cinematic microscope lest it unravel. The critics themselves are played by a who's who of British character actors including Jack Hawkins, Robert Morley, Coral Browne (who would later marry Price), Harry Andrews, Michael Hordern, Robert Coote and Arthur Lowe. With Diana Rigg as Price's daughter, Milo O'Shea, Diana Dors and Joan Hickson.
Monday, October 17, 2016
Manchester By The Sea (2016)
Dial M For Murder (1954)
Sunday, October 16, 2016
Night Has A Thousand Eyes (1948)
A nightclub psychic (Edward G. Robinson) uses tricks to con his audience into thinking he can read minds. But suddenly he begins experiencing genuine psychic visions and they aren't pleasant. This sudden gift is tortuous and something he doesn't want and he runs away into anonymity. But 20 years later, he must use his gift once more. Based on the novel by Cornell Woolrich (REAR WINDOW) and directed by John Farrow. This is a good thriller with a sympathetic performance by Robinson. As long as the film focuses on Robinson and Gail Russell as the young woman he's trying to help, it's a fascinating puzzle. But unfortunately once the dull police (in the form of William Demarest) are brought in, it really puts a damper on the movie. So much so that I'd say it stops the movie from being what it could have been. Namely a first rate intense mystery. The dim unimaginative boyfriend (John Lund) isn't much help either. Luckily, it's not enough to ruin the movie but a little more ingenuity wouldn't have hurt. John F. Seitz noir-ish cinematography gives the film an appropriate sense of cataclysm. With Virginia Bruce, Jerome Cowan, John Alexander and Richard Webb.
Saturday, October 15, 2016
The Seven Minutes (1971)
Two undercover vice cops (Charles Drake, Charles Napier) arrest a bookstore clerk (Robert Moloney) for selling an obscene book called THE SEVEN MINUTES. The publisher (Tom Selleck) hires an attorney (Wayne Maunder) to defend the young man but when a copy of the book is found in the car of a youth (John Sarno) charged with a brutal rape, the D.A. (Philip Carey) bases his case on the premise that the boy was driven to commit the rape by the book. Softcore porn director Russ Meyer made an attempt to go "legit" in the 1970s when his BEYOND THE VALLEY OF THE DOLLS was backed by a major studio, 20th Century Fox. This was his second and final effort in that direction. Based on the novel by Irving Wallace, Meyer doesn't seem comfortable with the material. The unfettered outrageousness which made his films so fun isn't here. The film's provocative subject matter (freedom of speech, the banning of books) aside, this is more or less a typical courtroom drama. The film's two leads, Maunder and Marianne McAndrew (HELLO DOLLY), are a rather bland lot but there are enough familiar character actors surrounding them to help prop them up. Watching the movie, my mind wandered and I wondered if they still ban books in America? The huge cast includes Yvonne De Carlo in perhaps the film's most important role, Jay C. Flippen, Edy Williams, Lyle Bettger, Ron Randell, John Carradine, Harold J. Stone, David Brian, Barry Kroeger and Edith Evanson.
Appointment In Honduras (1953)
Eye Of The Needle (1981)
Friday, October 14, 2016
American Pastoral (2016)
Set in the turbulent terrain of 1960s America, a businessman (Ewan McGregor) and his wife (Jennifer Connelly) would seem to have the ideal life. But when their troubled daughter (Ocean James as a child, Dakota Fanning as a teenager) focuses in on the anti-Vietnam war protest scene, it becomes obvious that something is quite wrong and the rage that she channels into the anti-war movement may be a sign of something darker. Based on the critically acclaimed novel by Philip Roth (PORTNOY'S COMPLAINT), this is McGregor's feature film directorial debut. McGregor has streamlined the book while still remaining faithful to it. I had a hard time buying McGregor as a Jewish ex-football player but he lucked out with Connelly and Fanning, both of who inhabit their roles perfectly. The film's topic is unusual in that it focuses on how the daughter's activism ends up destroying the seemingly perfect suburban household. Not because the parents don't share her views but it is clear quite early on that this is a troubled child and that the rage she channels into anti-war activism may be a sign of something darker. It's not a great film but it's an ambitious one and one can see the passion the film makers put into the project. The 1960s atmosphere is excellent. With Uzo Aduba, Peter Riegert, David Strathairn, Molly Parker and Valorie Curry (this is an actress to watch!).
Thursday, October 13, 2016
An Almost Perfect Affair (1979)
A young unknown American film maker (Keith Carradine) travels to the Cannes film festival in an attempt to sell his first movie. The last thing he expected to find was romance in the form of the wife (Monica Vitti) of a famous Italian producer (Raf Vallone). Directed by Michael Ritchie (DOWNHILL RACER), the film's Cannes festival setting is quite amusing as we get glimpses of "real" wheeling and dealing and it does look glamorous. But the romance is at the forefront and here's where the film fails. Carradine and Vitti have zero chemistry and generate no sparks whatsoever. You can't believe that these two would ever hook up much less fall passionately in love, even as Georges Delerue's underscore goes into overdrive trying to convince us otherwise. So this just about kills the movie dead in its tracks. And Raf Vallone's husband is too forgiving and understanding to the point of incredibility. Still, for film geeks, the Cannes setting is fun. With Dick Anthony Williams, Christian De Sica, Anna Maria Horsford and as themselves: Farrah Fawcett, George Peppard, Brooke Shields, Paul Mazursky, Edy Williams and Rona Barrett.
Wednesday, October 12, 2016
Moonlight (2016)
Set in a downtrodden section of Miami, a young black boy (Alex Hibbert) grows into a teenager (Ashton Sanders) and finally a man (Trevante Rhodes) all the while struggling to define who he is. As a boy, he briefly finds a mentor (Mahershala Ali) but it's a journey he must travel on his own. Based on the play by Tarell Alvin McCraney and adapted for the screen and directed by Barry Jenkins. This is a beautiful film, something really special. The film is wonderful in defying your expectations, it avoids stereotypes and provides three dimensional characters acted by an impeccable ensemble. Jenkins avoids the cliches of urban dramas about young black men, there's no gunfire, no "ho"s, no rap music underscore, no exploitation by the white man (indeed the film has no Caucasian characters at all). But it's still raw and real yet there are scenes of genuine beauty. Yet one doesn't have to be black to identify with the protagonist's sense of loneliness and longing to be touched by someone yet afraid of the very thing you desire the most. A must see for anyone interested in quality cinema. The incredible cast includes Naomie Harris (in an Oscar worthy performance), Janelle Monae, Andre Holland, Jharrel Jerome and Jaden Piner.
Le Amiche (1955)
A Midsummer Night's Dream (1935)
Set in Athens (though the setting doesn't resemble Greece in the least), after her father (Grant Mitchell) refuses to allow his daughter (Olivia De Havilland) to marry her love (Dick Powell), they run off with each other but get lost in the woods. They are followed by the man (Ross Alexander) who wants to marry her and the girl (Jean Muir) in love with him. But the forest is ruled by the King of Faeries (Victor Jory) and the lovers are manipulated by his whims. William Shakespeare's comedic romantic fantasy is one of his most enduring works. At the time, Warners was known for their tough gangster movies and depression era musicals, so this lavish production which gets the full roadshow treatment was unusual for them. It reeks of prestige what with Erich Wolfgang Korngold adapting Mendelssohn's music for the underscore and elaborate ballets choreographed by Bronislava Nijinska. Visually, the film is stunning with the art direction of Anton Grot creating a truly magical atmosphere and Max Ree's eye popping costumes. Which brings us to the actors which is a mixed bag. Many of the actors are untrained in Shakespeare and it shows particularly Dick Powell. Mickey Rooney's Puck is greatly admired in some quarters but I found him just awful, his constant giggling and shrieking gave me the heebie jeebies. Directed by Max Reinhardt with assistance from William Dieterle. With James Cagney, Joe E. Brown, Anita Louise, Frank McHugh, Ian Hunter and Hugh Herbert.
Tuesday, October 11, 2016
Battle Cry (1955)
Monday, October 10, 2016
Cover Girl (1944)
When a chorus girl (Rita Hayworth) in a nightclub becomes a magazine cover girl, the opportunity to leave the chorus and become a Broadway star is offered her by a producer (Lee Bowman). But she's in love with the club's owner (Gene Kelly) and is torn between love, loyalty and ambition. Directed by Charles Vidor (GILDA), this lightweight musical has the thinnest of story lines and offers no surprises. But it still has a lot to offer like Hayworth at her most Technicolor luscious. When she dances, she really comes alive and you can practically feel the joy she has as a dancer. There's the Jerome Kern and Ira Gershwin song score including the lovely Long Ago And Far Away and Gene Kelly impressive in his innovative alter ego dance number. The flashbacks to the turn of the century are a nuisance and features the worst number in the movie, Poor John. It will never be considered one of the great movie musicals especially if you consider what the Freed unit was up to at MGM but as the only pairing of Hayworth and Kelly, it has its place in movie musical history. With Eve Arden at her best, Phil Silvers, Otto Kruger, Jinx Falkenberg, Leslie Brooks, Anita Colby and Jess Barker.
Follow That Dream (1962)
A vagabond family traveling through Florida runs out of gas on a beautiful piece of beach. Since the beach is unincorporated land, they decide to homestead it which causes a myriad of problems from gangsters (Simon Oakland, Jack Kruschen) trying to take over to social workers (Joanna Moore) getting revenge! Based on the novel PIONEER GO HOME by Richard Powell and directed by Gordon Douglas, this easy going Elvis Presley vehicle resembles one of those live action Walt Disney family movies that were churned out on a regular basis during the 1960s and early 1970s. That's not meant to be a disparagement. Elvis sings, of course, but the songs are unmemorable and the film would work just as easily without the songs as an amiable family comedy. Shot by Leo Tover (THE HEIRESS), the movie benefits from the sunny Florida locations and a relaxed screenplay that isn't entirely mindless. I don't know that I can honestly recommend to anyone outside of Elvis fans (who've probably already seen it) but it's a pleasant time waster. With Arthur O'Connell, Anne Helm and Frank DeKova.
Sunday, October 9, 2016
Into The Forest (2016)
Saturday, October 8, 2016
Earthquake (1974)
When an early morning tremor shakes Los Angeles up a bit, a disparate group of characters play out their personal problems unaware that these problems will soon be dwarfed when L.A. is hit by an earthquake of catastrophic proportions! Okay, people who watch a movie like EARTHQUAKE aren't watching for a profound narrative, great acting or a witty script! They're watching because they want to see L.A. destroyed! On that level, the movie delivers and then some. Unfortunately, between the destructive set pieces, we're saddled with stock characters spouting cliched dialogue biding time until the next big shake! It's particularly upsetting to see Ava Gardner, one of the great film beauties of all time reduced to playing a shrieking harridan. It's not the kind of film where the acting matters much but even so, there's no excuse for a performance as bad as Marjoe Gortner as a whacked out National Guardsman. Poor Genevieve Bujold bears the brunt of the worst dialogue (she looks like she wants to parody her lines and who could blame her?). But it's big and loud and fun in a sadistic way especially if you live in or know Los Angeles. To the film's credit, its downbeat ending is a nice change of pace from the usual heroics. Directed by Mark Robson. With Charlton Heston, Walter Matthau, George Kennedy, Lorne Greene, Richard Roundtree, Lloyd Nolan, Victoria Principal, Monica Lewis and Barry Sullivan.
Patterns (1956)
True Confessions (1981)
Friday, October 7, 2016
Der Mude Tod (aka Destiny) (1921)
When her fiance (Walter Janssen) is taken from her, Death (Bernhard Goetzke) makes a deal with a young woman (Lil Dagover) that if she can prevent three deaths from occurring, he will restore her lover to her. Directed by the great Fritz Lang, the film's status is derived from its visual elements rather than its narrative. Lang uses the three deaths scenario to give us three different stories set in three different time periods: an exotic Arabian fantasy, a renaissance romance in Venice and an adventure in old China (the best of the three segments). All three are ocular treats that move beyond mere eye candy. The combination of romanticism and expressionism was highly influential and caught the eye of such film makers as Hitchcock, Bunuel and even Douglas Fairbanks Jr. who borrowed from the Arabian sequence for his THIEF OF BAGDAD. Its message that life is precious even to the most miserable among us is done with a discreet irony. Also, it's notable that Death is portrayed kindly rather than something to fear like in THE SEVENTH SEAL. The three lead actors get the opportunity to play in all three tales as well as the wrap around story. With Rudolf Klein Rogge.
Thursday, October 6, 2016
Klondike Annie (1936)
After killing her Chinese "lover" (Harold Huber), a woman (Mae West) flees San Francisco for Alaska. But when the law goes after her, she assumes the identity of a dead woman (Helen Jerome Eddy), a missionary on her way to a settlement house in Alaska. Based on the play FRISCO KATE written by West who adapted it for the screen and directed by Raoul Walsh. As usual with West's post code films, the film was watered down somewhat by deleting scenes which were deemed inappropriate (like the actual killing of Huber by West) but the film was still banned in certain places like Georgia. Cleaned up it may have been but the film does contain one of West's most famous lines, "Between two evils, I take the one I've never tried before". I don't know if Walsh's direction had anything to do with it but West actually has some good acting moments that are outside her persona. Victor McLaglen and Phillip Reed provide the romantic interest with McLaglen and West having a nice easy going chemistry that makes their affair entirely believable. I have to wonder though if the moralistic ending was in West's original play or was for the benefit of the code. With Lucile Gleason and Harry Beresford.
Wednesday, October 5, 2016
The Way We Were (1973)
A politically radical working class Jewish girl (Barbra Streisand) with strong opinions and a handsome conservative upper class wasp (Robert Redford) begin a romantic relationship that leads to marriage. But in spite of the love they have for each other, their very cores are so different that the relationship becomes volatile when their beliefs are challenged during the HUAC hearings. One of great romance movies of all time, Arthur Laurents' original script was just as political as it was romantic but slowly the political elements were watered down and the romantic relationship took center stage. I'm not so sure that was a bad thing. There are many fine books and documentaries about the HUAC and blacklist years available but very few intelligent adult romances as good as this one. Directed with a firm hand by Sydney Pollack, Streisand and Redford are so absolutely perfectly cast that it's downright spooky. It's a lovely and heartbreaking drama about two people that are so wrong for each other that they probably should never have been together in the first place. But the film's poignant bittersweet end resonates with all of us, who hasn't been there? The Oscar winning score is by Marvin Hamlisch and it's a beauty. With Bradford Dillman, Lois Chiles, Patrick O'Neal, Viveca Lindfors, James Woods, Murray Hamilton, Allyn Ann McLerie, Sally Kirkland and Susan Blakely.
Made In Italy (1965)
Tuesday, October 4, 2016
The Dark Half (1993)
A serious novelist (Timothy Hutton) pens lurid thrillers under the pen name of George Stark that make money while his more cerebral books don't sell. When a blackmailer (Robert Joy) threatens to out him, he goes public and puts an end to "George Stark". But when people around him start getting murdered, he becomes the prime suspect and is not believed when he tells them "George Stark" is the killer. Is George Stark his alter ego? Or does George Stark actually exist? Based on the best seller by Stephen King (who wrote books under the pen name of Richard Bachman) and directed by George A. Romero (NIGHT OF THE LIVING DEAD). This is a rather unsavory film and when it's not being unpleasant, it borders on ludicrous. Which is a pity because the premise is quite intriguing. But the execution isn't good enough that we're able to willingly go with a suspension of disbelief. Hutton is really very good in his best performance since ORDINARY PEOPLE but Romero lets him down by not providing a stronger setting for his performance. As his wife, Amy Madigan is wasted and doesn't even get to play the layers that King gave the wife in the novel. With Julie Harris (wasted), Michael Rooker, Beth Grant, Rutanya Alda, Royal Dano and Chelsea Field.
Monday, October 3, 2016
The Red Pony (1949)
Cowboy (1958)
A young desk clerk (Jack Lemmon) in a Chicago hotel talks his way into becoming partners with a cattleman (Glenn Ford) by loaning him money for a poker game. The cattleman reluctantly accepts but the young greenhorn has a lot to learn about life on a cattle drive. Based on the book MY REMINISCENCES AS A COWBOY by Frank Harris and directed by Delmer Daves. This is probably my least favorite of Daves' 1950s westerns. It's not a bad film at all but although it attempts a realistic look rather than a romanticized look at life on the cattle trail, today it just comes across as one of the better episodes of the RAWHIDE television series. Ford had done several westerns at this point in his career and he's a natural in the saddle but even though he's playing a greenhorn, Lemmon just doesn't feel right in the role. There's just something too contemporary about him, it's an ill fit. On the plus side, there's Charles Lawton Jr.'s nice color lensing and a robust score by George Duning. With Brian Donlevy, who's potentially the most interesting character in the film and given such short shrift that I wonder if his part was cut. Also with Anna Kashfi, Dick York, Richard Jaeckel and Vaughn Taylor.
Sunday, October 2, 2016
20th Century Women (2016)
The Desperate Hours (1955)
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