Birch Interval (1976)
“Something that’s measured is never lost — you know that, don’t you?”
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Manhattan (1979)
“Chapter one: He was as tough and romantic as the city he loved.”
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My favorite scenes — other than those which simply showcase Gordon Willis’ gorgeous shots of Manhattan — are those in which Allen interacts with his ex-wife, Meryl Streep, whose hyper-kinetic movement (she never stays still) reveals her intense discomfort at being around Allen even for a few minutes. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Psycho (1960)
“She just goes a little mad sometimes — we all go a little mad sometimes.”
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Response to Peary’s Review: Anthony Perkins — who, for better or for worse, remained inextricably linked to his “Norman Bates” identity throughout the remainder of his life — gives the most impressive, carefully nuanced performance in the film. He was intentionally cast against type (in the original novel, Norman is middle-aged, pudgy, and balding) to heighten the sexual tension felt between Norman and Marion (Leigh), and to make him more sympathetic to viewers — an essential move, given that Marion’s unexpected death leaves us suddenly having to “relate” to Norman instead. Leigh and Vera Miles are well-cast as the similar-looking Crane sisters (one tragically doomed, the other tenaciously persistent), while Martin Balsam makes an effective private eye. Perhaps the most audacious “character” in the film, however, is Bernard Herrmann’s screeching, all-strings score — it’s nearly impossible to separate this infamous music from the film as a whole. Note: The blatant sexual undertones Hitchcock and screenwriter Joseph Stefano incorporate throughout the film are truly ahead of their time: from the very first scene — in which busty, unmarried Janet Leigh lies post-coitally on a motel bed in a form-fitting bra and slip — to the nude “shower scene”, to Norman’s obvious sexual perversions, we’re both titillated and disturbed. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Wolf Man, The (1941)
“Even a man who is pure in heart and says his prayers by night may become a wolf when the wolfbane blooms and the autumn moon is bright.”
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Response to Peary’s Review: Although Peary finds Jack Pierce’s makeup “convincing” and the transformation scenes “effective”, most today would disagree; particularly egregious (and puzzling even to Peary) is why Chaney “retains his human form and walks on two furry feet, while [Bela] Lugosi” (the original werewolf; his role is miniscule) “was a full-fledged wolf.” With that said, The Wolf Man relies on atmospheric sets and internal tension rather than make-up and fancy special effects to provide its chills — and in this sense, it succeeds. Of special note is Maria Ouspenskaya in perhaps her most iconic role, as the gypsy woman who informs Chaney what has happened to him; her gentle, maternal chants (“The way you walked was thorny, through no fault of your own”) elevate the film to a higher level altogether. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Crossover Dreams (1985)
“I wanna get outta here… I’m gonna get outta here!”
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Kwaidan (1964)
“I saw very clearly the weird woman who killed old Mosaku; I’ve never seen in my life a woman as beautiful and white as her — except you.”
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Review: Like most omnibus collections, certain stories in Kwaidan (the title translates roughly into “ghost story”) emerge as more successful than others. The first two episodes — “Black Hair” and “The Woman in the Snow” — are the shortest and most unassuming of the quartet, telling simple yet profound tales of husbands who in one way or another fail to live up to their marital duties; it’s especially gratifying to see the familiar face of Japanese cinema icon Tatsuya Nakadai in the latter. “Hoichi the Earless” is the most flamboyant and central tale of the film, spanning literally centuries: it opens with a stunningly stylized recreation of a samurai battle, then shifts to the impact the battle’s forlorn ghosts have upon a well-meaning priest (Katsuo Nakamura) whose life is put in danger — despite his best intentions — simply by “knowing” them; Nakamura’s likable, authentic performance buoys this rather depressing fable. The final episode in the film — “In a Cup of Tea” — remains just as visually evocative as the others, but ultimately fails to engage on any deeper level. Taken together, however, Kwaidan provides a most unusual viewing experience, one which any film fanatic truly interested in witnessing the diversity of expression international cinema has to offer can’t really afford to miss. Redeeming Qualities and Moments:
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Pickup on South Street (1953)
“So you’re a Red, who cares? Your money’s as good as anybody else’s.”
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Review: Pickup possesses a slew of memorable characters, including Thelma Ritter as “Moe” (an aging stoolie who wants nothing more than to earn money for a decent funeral), Richard Widmark as the cynical centerpiece of the storyline (it’s difficult to imagine the role better cast), and — in perhaps the most surprising coup of all — Jean Peters as Candy, a smitten yet gutsy and gorgeous dame who’s willing to put up with an enormous amount of guff (both verbal and physical) from Widmark in exchange for his reluctant loyalty and love. The actors are filmed to perfection by cinematographer Joe MacDonald, who encases them in a dense noir ambiance so atmospheric it nearly becomes a character in itself. Pickup on South Street ultimately works on enough levels — visually, thematically, and more — to merit multiple enjoyable viewings by film fanatics. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Elephant Man, The (1980)
“I am not an animal — I am a human being!”
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Review: Merrick’s transformation from mute “creature” to dignified gentleman — the crux of the film — is truly a wonder to behold; even those who rarely cry at movies (myself included) will find themselves hard pressed not to be moved by this one. Scene after scene — enacted by a crew of exceedingly well-cast supporting actors — prompts a renewed investigation of our own prejudices, as we realize just how important a relatively “normal” appearance is to our acceptance of others as human. My favorite scenes are those between Merrick and a renowned actress (Anne Bancroft) who barely bats an eye upon seeing Merrick for the first time, and remains resolutely dedicated to treating him like the gentle hero he is. Equally touching is the initial scene between Merrick and Dr. Treves’ wife (Hannah Gordon), whose “natural” acceptance of his appearance causes him to break down in sobs of gratitude. Some (including, I suspect, Peary, who neglects to nominate either Hurt or the film itself in his Alternate Oscars book) find The Elephant Man overly cloying — and there’s no doubt that our heartstrings are strategically tugged throughout the entire film. Indeed, the final portion of the story — in which Merrick is kidnapped back by Jones, and forced to temporarily revert to his former status as a carnival freak — is nearly too much to bear, and shifts the story into undue pathos. Apart from this aberration, however, Merrick’s journey remains a fascinating one to watch, and proves that there’s nothing more uplifting than watching a character transform and transcend his initial limitations. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Swing Time (1936)
“No one could teach you to dance in a million years.”
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Response to Peary’s Review: Rogers — perhaps due to expert guidance from director George Stevens — is in peak form, investing her character with pathos and genuine charm; Astaire is equally fine, and it’s fun to see both Eric Blore and Helen Broderick returning in supporting roles (though Blore’s part should have been bigger). It’s amazing to note that the New York Times reviewer of the day (Frank Nugent — evidently tone deaf) dismissed Jerome Kern’s score as “merely adequate, or worse” — he actually complained about not being able to “whistle a bar” of any of the tunes upon leaving the theater! Personally, I can’t get “A Fine Romance” out of my head for the life of me… Note: The series’ signature art deco set designs are still evident, though toned down considerably to suit the working-class characters’ lifestyles. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
Top Hat (1935)
“In dealing with a girl or horse, one just lets nature take its course.”
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(Listed in 1001 Movies You Must See Before You Die) Links: |
