Sex

 

Isabella Rosselini

The Marquee (Fonda Division)

 

 

 

Jesse James

Sex

Genvieve Bujold

My Week of Movie Watching

Easy Rider – First time in about 10 years. It’s a little hard to look at this film objectively now, because of the iconic status it has achieved. Truly, it’s still on a short list of the true sixties landmark films, alongside Bonnie and Clyde, A Hard Days Night, and Blow-Up, but its imperfections are a little more noticeable to me this time. The commune scene runs on a wee bit long without offering much in the way of insight, and the rednecks are too comically drawn. I also wish we had gotten a bit more insight into the obvious melancholy of Peter Fonda’s Captain America. There is also a lot to recommend here, however.  Jack Nicholsons alcoholic hayseed lawyer is still a joy. The music (The Byrds, Steppenwolf, Hendrix, The Band, and especially Roger McGuinn doing Dylans “It’s Alright Ma, I’m Only Bleeding”) is terrific, and beautifully utilized.  The cinematography by Lazlo Kovacs is good, especially the Mardi Gras snippets, and the wonky acid trip in the graveyard. An imperfect film,  but one that everybody should see.

Georgy Girl – I'm amazed that it took me this long to see this for the first time. The theme song is literally the first song that I was aware of as being a hit radio song. I can remember it on the radio as I was getting ready for school when I was 6-7 years old. Any thoughts I had about the movie where based on that song, and I guess I thought it was a little zany lightweight comedy. Having seen it, I can see that there’s a lot more going on here. Georgy (Lynn Redgrave) is a lonely, frumpy teacher who lives with a glamorous party girl (Charlotte Rampling) and her immature boyfriend (Alan Bates).  Also in her orbit is the wealthy older man that her parents work for (James Mason, terrific as always), and who has some fairly creepy romantic designs on her. This film works so well because each of these 4 major players is so well drawn. Rampling , who loves the night life, and reacts with venom when a pregnancy interrupts it. Bates is fun-loving and affectionate, but his immaturity ultimately wears thin. Mason’s character has seen Georgy grow up in his house, and states that she is like a daughter to him, which gives his romantic overtures a bit of a slimy feel. Despite that, in Masons hands, the character still comes across as a good man.

 

There’s one moment in the film that stopped me in my tracks, and that’s when Ramplings Meredith says to Bates’ Josh about her pregnancy “I’ve already destroyed two of yours”. I was struck by the coldness and cruelty in this line, and that’s when I realized that this film was special. The final passage is beautiful moviemaking, and sublimely bittersweet. Recommended.

 

"Tears in the Rain"

The Marquee

My Week of Movie Watching

 Yellow Sky – Better-than-average western stars Gregory Peck and Richard Widmark as leaders of a gang of bank robbers who seek refuge in a desert ghost town. Problem is the town isn’t quite deserted. There’s a woman (Ann Baxter), and her prospector grandfather hanging around, and the gang decides that there must be a cache of gold around, as well. The film is notable for the way that Peck and company are portrayed as opportunists who will have no qualms about taking the old man’s treasure. This one is also worth checking out for its terrific B & W camerawork, courtesy of the great Joe McDonald.

The Woman in the Window – Fritz Lang flick has Edward G Robinson as a mild-mannered university professor who unwisely has a drink with a pretty girl (Joan Bennett), and gets himself enmeshed in a murder. Well, this was sure a strange viewing experience for me. For all but 5 minutes of its running time, I felt I was watching the greatest film Noir ever. Then the film throws an unbelievably ham-handed twist at us at the end, and I wanted to punch something. I will recommend this one, but only by being pig-headed and refusing to acknowledge the last 5 minutes. Because then, you see, this would be the greatest Noir ever.

Cactus Flower – This rom com from 1969 was Goldie Hawn’s first film. She plays the girlfriend of a dentist (Walter Matthau) who has told her he is married to avoid a commitment. When he actually falls in love and wants to marry her, he has to produce his wife. The job of impersonating the wife falls to his reluctant receptionist (Ingrid Bergman). This one has some good laughs,as lies pile on top of lies, and the whole affair gets waaaay out of hand. I was sceptical to see Bergman playing a light comic role, but she is surprisingly good here. She starts out as a bit of an ice queen, but gradually succumbs to the excitement of the role-playing.  Recommended.

Broken Arrow – This based-on-fact 1950 offering from Delmer Daves might be one of the first westerns to really present Indians in a sympathetic light. An ex Union soldier played by James Stewart is recruited to try to negotiate with the Apaches, led by Cochise (Jeff Chandler). Stewart encounters mistrust and hatred from both sides, but gradually earns the respect of the great chief. BA is noteworthy for its politics, but it is far from a perfect film. The whites are standard-issue troglodytes and the natives the noble savages – Caricatures which are as simple minded as those that they are replacing. There is even an inter-racial marriage here, which I thought was a distraction, but it is used well in the films powerful climax. Not a great film, but a good and important one, and I recommend it.

Cool

Ernest Borgnine

   1917-2012

The Marquee

Stolen from Filmsquish

My Week of Movie Watching

Alice’s Restaurant –This 1969 Arthur Penn adaptation of the Arlo Guthrie song was surprisingly good. I expected this to be a time capsule snapshot of the hippie era, and it is that, but I was surprised by how hard an edge it takes when viewing the free love era. It has some things to say about heroin, and the climactic wedding sequence is poignant in how it digs beneath the do-your-own-thing-man ethos of the 60’s and reveals loneliness and resignation. Recommended.

It’s a Mad Mad Mad Mad World – The granddaddy of extravaganza comedies. An all-star cast (Spencer Tracy, Milton Berle, Sid Caesar, Mickey Rooney, etc) go on a wild chase to recover a hidden stash of money. There’s no question that there are a lot of good laughs here, but it sometimes seems that there’s too much stuff for one movie. There are a couple of instances where it seems like a lot of time lapses between story threads. Still, recommended.

All Through the Night – Humphrey Bogart vehicle from 1941 featured Bogie battling a nest of Nazi spies led by Conrad Veidt and Peter Lorre.  It’s a bit peculiar that although Hitler is referenced in this film, the world “Nazi” is never uttered. That may be due to the fact that in 1941, the outcome of the war was not a certainty. Also, I couldn’t really get a handle on who or what Bogarts’ character is. He calls himself a promoter, but seems a lot like either a flat-out gambler, or perhaps a mobster. There’s some OK action here, and I recommend it, but it’s far from a perfect film. A young Jackie Gleason is here, as are William Demarest and Phil Silvers, who coincidentally are both also in It’s a Mad Mad Mad Mad World.

Donovan’s Reef – First time seeing, this, the last teaming of John Wayne and John Ford, and it wasn’t quite what I expected. I expected a brawling comedy with a lot of interplay between the Duke and Lee Marvin. This starts out that way, but DR is really a love story, as Wayne acts as an escort for a somewhat spoiled rich girl played by Elizabeth Allen, and Marvins character blends into the background a bit. Wayne is good in a romantic role that is a little out of his normal vein, and Allen is sexy. There are times when Fords penchant for easy slapstick get in the way, so I only give it a lukewarm recommendation.

Cool

Alain Delon

My Week of Movie Watching

Boomerang – Mainly true story by Elia Kazan about how a straight-arrow attorney (Dana Andrews) tries the case of a man (Arthur Kennedy) accused of murdering a popular priest. Boomerang is promising for a good portion of its running time, as the film lays out the drama about the townspeople pressuring the authorities to find someone – ANYONE – to pin the murder on. However, when the action settles down into the courtroom, things peeter out, because we get all the same cinematic courtroom tricks that we’ve seen a hundred times. Thus, I can’t quite recommend it.  Lee J Cobb has a good little role as a hard-bitten police captain, and Karl Malden has an uncredited turn as a detective.

The Loneliness of the Long Distance Runner – Another “Angry young man” film from Britain, this one from Tony Richardson.  Tom Courtenay stars as a youth confined to a tough reform school who finds a salve for his damaged life in cross-country running. The film shuffles scenes of life in the school with flashbacks to life on the outside for Courtenay’s Colin, and we see how his father’s illness and suspicious death and his mother’s taking up with a new man drive him into a poor decision. Colin is a filmic cousin of Albert Finneys’ Arthur from Saturday Night and Sunday Morning (which was set in Nottingham, like this movie)

Contact – When Roger Ebert wrote about Contact in his Great Movies series, he stated that it took place at the intersection of science, politics, and faith. That assessment is accurate, but it also points up the weak points of what is a pretty good movie. I really liked how the films story of a scientist (Jodie Foster) who receives a signal from another plant evolves into an examination about where God fits into the scientific equation. Fosters Elly is an atheist who lost both parents at a young age. Matthew McConaughey plays a religious writer who falls in love with her, even as they lock horns, and their scenes together are the strength of the film. There is one exchange where he stops her in her tracks with an argument that neither she nor us can see coming. The film sort of alludes to the possibility that Elly really does hope to find a heaven in the hopes of finding peace for her dead parents, and the climatic exchange with the alien race looks as much like heaven as anyone could hope to imagine. That is not lost on Elly, either. The film has faults, notably a supercilious US government official played by James Woods, who is taken directly from the handbook of evil movie bureaucrats. Still, I recommend it, because it tackles subject matter that Hollywood usually won’t touch with a ten foot pole.

The Marquee (All about Peck)

My Week of Movie Watching

The Petrified Forest – A quiet roadside diner is taken over by a bunch of murderous gangsters. This is mainly notable for being the film that launched Humphrey Bogart to stardom. Bogie had played the role of lead bad guy Duke Mantee on stage, and star Leslie Howard lobbied hard to have him on board when the play was made into a film. Apparently, Bogart modelled his dour villain on John Dillinger, and he’s easily the most memorable thing in this. The main engine of the film is the dynamic between Bogarts sullen resignation and the blowsy intellectualism of Howard's Alan Squire. Bette Davis is also here as a waitress who falls hard for Howard. PF has some interesting ideas, but falls a bit short for me due to some embarrassingly bad supporting players, including a dim football player, and an old drunk. Moderately interesting, but not quite recommendable.

Mr. Arkadin (aka Confidential Report) – Orson Welles lost control of this 1955 drama, and thus there was never a definitive version released. A reclusive billionaire (Welles) hires a small time con man and smuggler (Robert Arden) to investigate his past, in hopes of uncovering lost memories. Arkadin is dense and confusing, as Arden encounters one bizarre character after another (who always seem to end up dead), and although I sometimes was fuzzy on who I was watching, my attention never wavered. Welles pulled out on the stops on his visual presentation here, and that’s what makes the film worth a watch. Arkadin is kitted out in an outrageous beard, and usually shot in daunting close-ups and unsettling tilted shots, giving him a Mephisto-like presence. Not a perfect film, but an interesting one. Recommended.

Sex

Ursula Andress

Cinematography - Stanley Cortez and Night of the Hunter

Sex

Catherine Denueve

My Week of Movie Watching

Jules and Jim – When I first saw François Truffaut’s great love triangle many years ago, it didn’t really leave a mark on me. In revisiting it again this week, I can finally appreciate its melancholy jumble of emotions. The story is complicated, but it draws from a deep wellspring of love, loyalty and sadness. Jules and Jim are great friends. Jules falls in love with the free-spirited Catherine (Jeanne Moreau). They marry, but she feels stifled, and begins an affair with Jim. Rather than lose her completely, Jules allows the affair to flower, with tragic results. Truffaut is like a kid with a new toy with this movie, and I was delighted by his exhilarating visual style. The dialogue is rich and beautiful. Highly recommended.



Hands Over the City – Terrific political film from Francesco Rosi stars Rod Steiger as a corrupt Neapolitan politician out to line his pockets through a proposed housing development. The film often has the look and feel of a documentary, and Steiger is utterly brilliant as a man who is long accustomed to having the system make him rich. Carlo Fermariello has a meaty and important role as an idealistic political rival to Steiger. The films conclusion is bitterly cynical, but somehow perfect. Recommended.



Story of a Prostitute – I’ve only seen a couple of Seijin Suzuki’s films (Beauty of the Underworld and Gate of Flesh), but both of them have stuck with me. This story of a prostitute brought to a WWII Japanese army base will be no exception. The title character is subjected to brutality from the camp commandant, and decides to seduce his loyal orderly in order to punish him. The virginal orderly at first wants nothing to do with her, but the two gradually grow close. Like many Japanese films set during the war, SoaP has a lot to say about the army’s rigid adherence to codes, and the destructive consequences of this. Suzuki was a filmmaker who didn’t care much for soft edges. This one is big and bold, but does tend to go a bit over the top on occasion. Liked it, didn’t quite love it.

The Marquee

Cinematography - James Wong Howe and the New York of Sweet Smell of Success