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Month: July 2009

Merry Widow, The (1925)

Merry Widow, The (1925)

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“What’s marriage got to do with love?”

Synopsis:
A European prince (John Gilbert) falls for an American showgirl (Mae Murray) but is forbidden by his parents from marrying her. Heartbroken, she weds an elderly baron (Tully Marshall) who promptly dies, leaving her free to marry again — but will the newly wealthy widow forgive Gilbert, or accept the proposal of his nefarious cousin, Crown Prince Mirko (Roy D’Arcy)?

Genres, Themes, Actors, and Directors:

  • Cross-Class Romance
  • Erich von Stroheim Films
  • John Gilbert Films
  • Play Adaptation
  • Royalty and Nobility
  • Showgirls
  • Silent Films
  • Star-Crossed Lovers
  • Widows and Widowers

Response to Peary’s Review:
This little-seen adaptation of Franz Lehar’s operetta (remade in 1934 by Ernest Lubitsch) is primarily notable as the first film Erich von Stroheim directed for MGM immediately after the studio butchered his ten-hour epic Greed (1923). As Peary notes, it’s a rather “odd film”, given to “bursts of bizarre slapstick humor” and full of “weird characters” (including one with an amusing foot fetish); meanwhile, the story is relatively trite and predictable (especially given its studio-added happy ending). What’s most memorable about The Merry Widow is its visual creativity: soft matte backgrounds evoke an appropriately fairytale-like European ambience, while Oliver Marsh’s cinematography — though badly glaring and/or washed out in the print I saw — is boldly luminous, and Von Stroheim adds plenty of unique touches (a pair of blindfolded musicians lurk in the background as Gilbert romances Murray; D’Arcy sees only Murray’s glowing jewels once she’s become a wealthy widow). Gilbert — who was on the cusp of a brief rise to stardom before the arrival of “talkies” dashed his career — is a solid, sympathetic lead, while silent star Murray (a notorious diva who apparently made life miserable for von Stroheim on set) had what many consider her greatest role here. Film fanatics will likely be curious to take a look.

Redeeming Qualities and Moments:

  • John Gilbert as Prince Danilo
  • Resplendently baroque sets

  • Fairytale-like matte backgrounds

  • Oliver Marsh’s luminous cinematography

  • Evidence of von Stroheim’s unique directorial touch

Must See?
Yes, for its historical significance.

Categories

  • Historically Relevant
  • Important Director

Links:

Klute (1971)

Klute (1971)

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“What I’d really like to do is be faceless, and bodiless, and left alone.”

Synopsis:
A small-town detective (Donald Sutherland) searching for a missing friend (Robert Milli) enlists the help of a call girl (Jane Fonda) who is being stalked by a mysterious psychopath.

Genres:

  • Alan J. Pakula Films
  • Detectives and Private Eyes
  • Donald Sutherland Films
  • Jane Fonda Films
  • Mysterious Disappearance
  • Prostitutes and Gigolos
  • Roy Scheider Films

Response to Peary’s Review:
Peary refers to this psychological thriller by Alan J. Pakula as “exceptional”, pointing out Pakula’s “striking, highly atmospheric direction”, the inclusion of several “genuinely frightening” scenes, and Jane Fonda’s “remarkable” Oscar-winning performance. I agree with all of these assertions: Klute is effectively eerie in parts, gorgeously filmed by d.p. Gordon Willis, and contains one of Fonda’s best performances (Peary notes that “obviously she’s fascinated by Bree and wants to figure her out”). Unfortunately, however, the plot itself is needlessly confusing; while a second viewing helps to clarify exactly what’s going on, a really tight thriller shouldn’t require this. Yet the “murder mystery” ultimately could be seen as merely an elaborate MacGuffin, given that Klute is primarily concerned with exploring Bree’s life as a call girl, and the romantic relationship she slowly develops with Klute.

Indeed, many have noted that a more accurate title for the film would be Bree, given that she, rather than Klute, is really the central protagonist; Klute himself (Sutherland gives a mellow, restrained performance) is merely a catalyst in Bree’s well-ordered life — someone who subtly “convinces” her to open up emotionally to a man for the first time, and take a risk. Bree’s sessions with a psychotherapist (Vivian Nathan) — which were apparently semi-improvised by Fonda — are particularly revealing, and help us understand that Bree finds “her job liberating because she feels in control in her life only when turning tricks”; thus, her “movement toward real-life liberation takes a dramatic leap when she learns to trust Klute”. Fonda’s vulnerable, nuanced performance is the primary reason to watch this flawed but engaging and atmospheric film.

Redeeming Qualities and Moments:

  • Jane Fonda as Bree Daniels (Peary, like the Academy, gives her an Alternate Oscar as Best Actress of the Year)
  • Gordon Willis’s cinematography

Must See?
Yes, for Fonda’s Oscar-winning performance. Peary nominates it as one of the Best Pictures of the Year in his Alternate Oscars.

Categories

  • Noteworthy Performance(s)
  • Oscar Winner or Nominee

(Listed in 1001 Movies You Must See Before You Die)

Links:

Eyewitness (1981)

Eyewitness (1981)

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“Whoever killed Long is a hero in my book.”

Synopsis:
A janitor (William Hurt) stumbles upon the murdered body of a Vietnamese businessman in his office building, and hopes that his “privileged information” will give him access to a beautiful television journalist (Sigourney Weaver) he’s had a crush on for years.

Genres, Themes, Actors, and Directors:

  • Christopher Plummer Films
  • James Woods Films
  • Journalists
  • Murder Mystery
  • Obsessive Fans
  • Peter Yates Films
  • Sigourney Weaver Films
  • William Hurt Films

Review:
What does an underground movement to smuggle Jews out of communist Russia have to do with obsessive fans, Vietnam vets, horses, motorcycles, and a hated Asian businessman who’s found by a janitor late one night with a telephone cord wrapped tightly around his neck? Screenwriter Steve Tesich — who also wrote the script for director Peter Yates’ highly regarded cult film, Breaking Away (1979) — manages to weave these seemingly disparate plot elements into a most unusual “murder mystery” thriller, one which unfolds in completely unanticipated ways. What’s most refreshing about Tesich’s script (in which red herrings abound) is its character-driven focus: as the movie progresses, we learn more and more about each of the characters, who are gradually revealed to be more complex and nuanced than we originally thought. Indeed, it’s difficult to say too much about Eyewitness without giving away spoilers of one kind or another, given that so much of what happens exposes new character motivations. Young Hurt and Weaver are both excellent:

… as is the cast of supporting players — including Christopher Plummer as Weaver’s pro-Israel boyfriend:

… James Woods as Hurt’s co-worker and friend:

… and Pamela Reed as Hurt’s long-time girlfriend:

Meanwhile, the final climactic scene in a stable is most creatively staged.

Redeeming Qualities and Moments:

  • William Hurt as Daryll Deever
  • Sigourney Weaver as Tony
  • Steve Tesich’s character-driven screenplay

Must See?
No, but it’s a good, unusual little thriller, and worth seeing once. Listed as a Sleeper in the back of Peary’s book.

Links:

Thieves Like Us (1974)

Thieves Like Us (1974)

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“I shoulda robbed people with my brain instead of a gun.”

Synopsis:
A trio of fugitives (Keith Carradine, Bert Remsen, and John Schuck) rob banks in Mississippi while trying to stay out of the hands of the law; meanwhile, Carradine develops a crush on a gas station attendant (Shelley Duvall), Remsen falls for a blonde beauty school student (Ann Lathan), and Schuck shows increasingly violent tendencies.

Genres, Themes, Actors, and Directors:

  • Depression Era
  • Fugitives
  • Keith Carradine Films
  • Louise Fletcher Films
  • Robert Altman Films
  • Shelley Duvall Films
  • Thieves and Criminals

Response to Peary’s Review:
Robert Altman’s period drama about thievery and young love during the Great Depression was adapted by Altman, Calder Willingham, and Joan Tewksebury “from Edward Anderson’s novel, which was also the source for Nicholas Ray’s 1948’s classic They Live By Night.” Peary refers to it as a “masterpiece”, noting that it’s “terrifically acted”, has “exceptional, flavorful dialogue”, utilizes sets that “look lived in”, is masterfully cast “down to the bit parts”, and is filmed by cinematographer Jean Boffety in a way that “adds to the film’s lyricism and sense of a bygone time”. Indeed, its sense of period authenticity is especially striking; as Peary notes, Altman achieves this “through carefully chosen sets and props, hairstyles, clothes, and cars; and by establishing a lifestyle for his characters… that seems perfectly credible.” The use of radio programs in the background (sometimes realistically ambient, at others more strategically chosen) is striking, giving one the distinct sense that radio was the “television” of the day — something that would likely be on in most households or cars, as a part of everyday life.

Parallels between Thieves Like Us and Arthur Penn’s Bonnie and Clyde (1967) are inevitable, given that both tell stories about “everyday” citizens during the Depression who are drawn to the glory and seemingly simple allure of bank robberies (indeed, no guards or policemen are ever shown nearby; Carradine and his team simply get away without a problem). To that end, Altman noticeably chooses “to treat the action sequences the same as the dialogue scenes, without suspense or exciting climaxes” — most likely because “Carradine himself doesn’t regard the robberies and shootouts as particularly interesting events in his life”; he’s much more concerned with making it back to his true love, “simple, scrawny” Keechie (Duvall), who possesses a strange appeal despite her odd looks (it’s easy to see why Carradine’s needy character falls for her). Duvall is excellent here, as are Carradine and the other male leads. Schuck — playing a psychopath — becomes increasingly terrifying as the film progresses, while Remsen is uniquely memorable as the oldest of the three thieves, who nonetheless possesses the strongest libido.

As always with Altman’s best films, part of the allure of Thieves Like Us is waiting to see how events will unfold, since nothing is telegraphed ahead of time, and Altman strategically leaves out certain “key” scenes (i.e., only one bank robbery of several is actually shown on film, and the death of a major character is simply mentioned). Throughout, we feel like we’re simply watching “real life” as it happens — which is why the bloody climax (which deviates noticeably from the film’s previous air of hyper-realism) is a bit of a let-down; Altman utilizes slow-motion rather than allowing the scene to play out in “real time” as it should. This is a minor complaint, however, about an otherwise bleakly powerful film, one which leaves a lasting effect, and should be seen by all film fanatics at least once.

Redeeming Qualities and Moments:

  • Keith Carradine as Bowie (Peary nominates him as one of the Best Actors of the Year in his Alternate Oscars)
  • Bert Remson as T-Dub
  • John Schuck as Chickama
  • Shelley Duvall as Keechie (Peary nominates her as one of the Best Actresses of the Year in his Alternate Oscars)
  • Louise Fletcher as Mattie
  • Fine period detail
  • Jean Boffety’s cinematography
  • Memorable imagery

Must See?
Yes, as one of Altman’s best early films. Peary nominates it as one of the Best Movies of the Year in his Alternate Oscars book.

Categories

Links:

Perfect Couple, A (1979)

Perfect Couple, A (1979)

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“I don’t think you two should be kissing while I’m suturing.”

Synopsis:
An aspiring singer (Marta Heflin) and a Greek antiques dealer (Paul Dooley) meet through a video dating service, but find their budding romance foiled by their overbearing families and roommates.

Genres, Themes, Actors, and Directors:

  • Dating
  • Musicals
  • Robert Altman Films
  • Romantic Comedy
  • Star-Crossed Lovers

Review:
The opening scene of this would-be romantic comedy by Robert Altman promises an amusing look at the vagaries of dating: an obviously uncomfortable couple out on their first date get drenched by a rainstorm at the Hollywood Bowl, only to find their increasingly disastrous evening together miraculously redeemed by an electrifying goodnight kiss.

Unfortunately, however, the film completely fails to live up to its initial potential. Most egregiously, Dooley’s character comes across as obnoxious: he’s pushy, self-absorbed, and possessive (he beats up another man who wants to go out with Heflin), and is rarely worthy of our sympathy.

Meanwhile, waifish Heflin is, despite her fine voice, utterly unbelievable as a backup singer in a communal rock band (her bandmates are all ten times more energetic than her), and her distractingly skeletal body makes one cringe for her well-being.

Side stories involving members of Dooley’s overbearing Greek family fall utterly flat:

… as does a recurring visual “joke” involving a true “perfect couple” (Fred Bier and Jette Seear), whose presence is meant to serve as a comedic counterpart to Dooley and Heflin’s troubled courtship.

The film’s primary redeeming quality is Heflin’s band (“Keepin’ Em Off the Streets”), whose incessant rehearsals inappropriately dominate the screenplay, but ultimately provide a welcome respite from the tedious storyline.

Note: Watch for charismatic Ted Neeley (“Jesus Christ Superstar”) as the band’s domineering lead singer — what inspired casting!

Redeeming Qualities and Moments:

  • A host of fun ’70s-era songs by “Keepin’ Em Off the Streets”

Must See?
No; unless you’re a true Altman-completist, feel free to skip this one.

Links:

Therese Desqueyroux (1962)

Therese Desqueyroux (1962)

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“Don’t you think that a life like ours already feels a lot like death?”

Synopsis:
A woman (Emmanuelle Riva) accused of attempting to poison her wealthy husband (Philippe Noiret) reflects upon her unhappy marriage as she leaves prison; once she arrives home, vengeful Noiret refuses to divorce her but is determined to make her life miserable.

Genres, Themes, Actors, and Directors:

  • Downward Spiral
  • French Films
  • Flashback Films
  • Georges Franju Films
  • Homicidal Spouses
  • Marital Problems

Review:
Georges Franju is most famous for directing the 1960 horror masterpiece Eyes Without a Face; this film (made just two years later) shares some of its predecessor’s thematic interests (a woman is forcibly isolated in her own home by a powerful man), but ultimately lacks both its compelling horror trajectory and its sense of dark humor. Indeed, the deadly serious Therese (based on a 1927 novel by Francois Mauriac) is resolutely bleak, and — despite a voiceover meant to fill us in on the details of Riva’s unhappy marriage before she attempts to murder her pompous husband — her titular protagonist remains a true feminist enigma throughout. At first, it seems that Therese married her husband simply as a veiled proxy to be near his lovely young sister (Edith Scob) — but this vaguely titillating suggestion is never developed. Instead, we come to accept that she simply made a dreadful mistake in marrying Bernard (whose socially acceptable family name she craved on some level), and has compounded this mistake by stupidly trying to murder him. The remainder of the film — as Therese becomes a virtual prisoner in her own house, resorting to simply smoking and drinking in bed — is too depressing for words. Fortunately, the film’s evocative visuals, fine central performances (Noiret is particularly good in a decidedly unsympathetic role), and memorable score by Maurice Jarre all help to make up for its downer storyline (which is apparently faithful to its source material).

Redeeming Qualities and Moments:

  • Emmanuelle Riva as Therese (she won a Best Actress award at the Venice Film Festival for her work here)
  • Phillipe Noiret as Bernard
  • Raymond Heil and Christian Matras’ cinematography
  • Maurice Jarre’s lilting, haunting score

Must See?
No, but it’s certainly worth a look if you can locate a copy.

Links:

Phantom Carriage, The (1921)

Phantom Carriage, The (1921)

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“The one to whom something fatal happens on New Year’s Eve is forced to drive the Phantom Carriage!”

Synopsis:
On New Year’s Eve, an alcoholic (Victor Sjostrom) is visited by the driver (Tore Svennberg) of the “phantom carriage” of death, and forced to reflect on his boorish life, during which he abused his innocent wife (Hilda Borgstrom) and rebuffed the assistance of a do-gooding missionary (Astrid Holm).

Genres, Themes, Actors, and Directors:

  • Do-Gooders
  • Domestic Abuse
  • Flashback Films
  • Ghosts
  • Horror Films
  • Scandinavian Films
  • Silent Films

Review:
Based on a novel by Nobel Prize-winning Swedish author Selma Lagerlof, The Phantom Carriage is primarily known for the influence it had on Ingmar Bergman, who cast the film’s director (Victor Sjostrom) in the lead role of Wild Strawberries (1957), and paid explicit homage to its imagery and themes. Yet it remains an important historical milestone in its own right, due simply to its impressive technical innovations: cinematographer Julius Jaenzon, working with lab executive Eugen Hellman, created stunning “double-exposure” effects which resulted in truly memorable and haunting imagery (see stills below). Unfortunately, the narrative itself — a Christian variation of sorts on Dickens’ A Christmas Carol, and a clear precursor to Capra’s It’s a Wonderful Life (1946) — is less impressive. The film’s multiple-flashback structure is unduly confusing, and Sjostrom’s troubled protagonist is such a boorish lout — he drinks, terrorizes his wife and kids, and knowingly tries to infect as many people as possible with his tuberculosis — that it’s truly difficult to feel any sympathy for him as he cowers at death’s door. Regardless of its narrative shortcomings, however, film fanatics will surely want to check out this film — which Bergman reportedly re-watched every year after he first stumbled upon it at the age of 15 — at least once, for its stunning visuals and historical relevance.

Note: See Wikipedia’s entry on the film to read more about its production history and subsequent influence on cinema.

Redeeming Qualities and Moments:

  • Julius Jaenzon’s innovative double-exposure cinematography

  • Many haunting images

Must See?
Yes. Listed as a film with Historical Importance and a Personal Recommendation in the back of Peary’s book.

Categories

  • Historically Relevant

(Listed in 1001 Movies You Must See Before You Die)

Links:

Beggars of Life (1928)

Beggars of Life (1928)

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“Even them people in feather beds ain’t satisfied — we’re all beggars of life.”

Synopsis:
A young woman (Louise Brooks) who has just killed her stepfather in self-defense goes on the lam with a hobo (Richard Arlen) — but the leader of a group of thieves (Wallace Beery) is determined to secure Brooks as his “gal” at any cost.

Genres, Themes, Actors, and Directors:

  • Character Arc
  • Fugitives
  • Homeless
  • Louise Brooks Films
  • Silent Films
  • Thieves and Criminals
  • Wallace Beery Films
  • William Wellman Films

Review:
This silent film by director William Wellman is a clear thematic precursor to his Depression-era flick Wild Boys of the Road (1933), but with a fugitive sensibility and less overt social commentary. The story starts off with a bang, as Arlen walks into a room with a dead man, then spots a beautiful young woman descending the stairs; as Brooks describes how she killed her stepfather after he tried to rape her, Wellman superimposes flashback images over her expressive face, to haunting effect. Arlen begrudgingly takes Brooks (a fugitive) under his wing, teaching her how to hop trains (she doesn’t make it on her first try), and their care for one another slowly begins to grow; the scene in which the two acquaintances lie together on a makeshift haystack “bed” is a nervy, remarkably provocative artifact of pre-Code mentality.

Once Arlen and Brooks encounter a group of thieves (led by blustery Wallace Beery), the story becomes a bit more conventional and less intrinsically interesting — though Beery’s “look” when he dons a trash bag and dark glasses to convene a kangaroo court bears viewing (see still below). Things take yet another turn by the end, when Beery experiences a change of heart — but to say more would give away spoilers. While its rather perfunctory storyline prevents Beggars of Life from being a classic of silent cinema, Wellman does present some lovely imagery (helped by Henry Gerrard’s shadowy cinematography), and film fanatics will likely be curious to see Brooks in her final Hollywood film before she left for Germany to collaborate with G.W. Pabst. (Has any actress EVER been more luminous and compulsively watchable on-screen?)

Note: Beggars of Life is actually considered to be Paramount Pictures’ first “talkie”, given the insertion of a song sung by Beery, but this wasn’t included on the version I watched, and in every other respect the film is an archetypal silent picture.

Redeeming Qualities and Moments:

  • Louise Brooks as Nancy
  • Brooks’ sweet, budding “romance” with Arlen
  • Wallace Beery as Oklahoma Red
  • The opening flashback sequence
  • Henry Gerrard’s cinematography

Must See?
Yes, simply as an early Wellman film, and to see Brooks in her final Hollywood performance. Listed as a film with Historical Importance in the back of Peary’s book.

Categories

  • Important Director
  • Noteworthy Performance(s)

Links:

King of the Cowboys (1943)

King of the Cowboys (1943)

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“Every town we play has an explosion or a fire.”

Synopsis:
Rodeo star Roy Rogers is asked by his governor (Russell Hicks) to help locate a gang of saboteurs who have been setting fires and explosions in towns across Texas. When a carnival comes to town, Rogers and his sidekick (Smiley Burnette) begin to think a phony mind reader (Gerald Mohr) may have something to hide; meanwhile, Rogers kindles a romance with Mohr’s pretty assistant (Peggy Moran).

Genres, Themes, Actors, and Directors:

  • Amateur Sleuths
  • Cowboys
  • Musicals
  • Westerns

Response to Peary’s Review:
Peary notes that this “enjoyable Roy Rogers western” was “possibly his best” — and I’ll have to believe him, since I haven’t seen any others. It’s full of hummable songs (Rogers has a fine voice) and a host of serial-flick conventions: a dastardly “bad guy” (black mustache and all) whose crimes of sabotage have suitably vague motives; a message in invisible ink; a mysterious code word (“triplets”); cars being run off cliffs; and more. Fortunately, it’s all “brisk” and “witty”, and, as Peary notes, “it’s easy to see [Rogers’] appeal.” Film fanatics will surely be curious to check out at least one film starring the “King of the Cowboys”, and this one should likely be it.

Redeeming Qualities and Moments:

  • Plenty of suspenseful serial-flick sequences
  • Some charming cowboy ditties

Must See?
Yes, simply as a representative Roy Rogers film.

Categories

  • Representative Film

Links:

Kid From Spain, The (1932)

Kid From Spain, The (1932)

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“Mexico makes every man a great lover — a Casanova!”

Synopsis:
An expelled college student (Eddie Cantor) unwittingly abets a bank robbery and flees with his friend (Robert Young) to Mexico, where he pretends to be a famous bull fighter in order to elude a suspicious detective (Robert Emmett O’Connor), and falls in love with the blonde friend (Lyda Roberti) of Young’s girlfriend (Ruth Hall).

Genres, Themes, Actors, and Directors:

  • Bullfighting
  • Busby Berkeley Films
  • Comedy
  • Eddie Cantor Films
  • Leo McCarey Films
  • Mistaken Identities
  • Mexico
  • Musicals
  • Robert Young Films

Review:
This dated Eddie Cantor comedy was a big money maker for MGM, but hasn’t aged well at all. Other than a couple of innovative Busby Berkeley dance sequences (featuring several pre-fame starlets — if you blink, you’ll miss them), everything else about the screenplay is simply tiresome or offensive. Stereotypes abound — not just about Mexico and Mexicans (what’s up with Cantor being from Spain in the title, anyway?), but about African-Americans (Cantor does a blackface routine) and women (Cantor’s love interest is a complete ditz). Gregg Toland was cinematographer on the picture, but his innovative touch is only evident in a few scenes.

At least the final sequence — in which Cantor runs for his life from a ferocious, fence-jumping bull — is unlike any other bullfight you’ve ever seen on-screen.

Redeeming Qualities and Moments:

  • Busby Berkeley’s “Goldwyn Girl” sequences

Must See?
No. Despite its historical significance as a popular Eddie Cantor film, it’s ultimately too tedious to recommend.

Links: