Cannonball Run, The (1981)

Cannonball Run, The (1981)

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“You are certainly the most distinguished group of highway scofflaws and degenerates ever gathered together in one place.”

Synopsis:
An eccentric group of competitors — played by Burt Reynolds, Dom DeLuise, Roger Moore, Jackie Chan, Adrienne Barbeau, Farrah Fawcett, Jamie Farr, Dean Martin, Sammy Davis, Jr., and others — participate in an illegal cross-country car race known as the Cannonball Run.

Genres, Themes, Actors, and Directors:

  • Burt Reynolds Films
  • Car Racing
  • Comedy
  • Dean Martin Films
  • Ensemble Cast
  • Peter Fonda Films
  • Rivalry

Review:
The Cannonball Run was the fifth highest grossing film of 1981, and remains a nostalgic favorite for those who remember watching it upon its release (either in theaters or on cable). The characterizations by an all-star cast are amusingly irreverent, and there’s some fun to be had in seeing the depths to which these fanatical competitors will go in order to win the race. This isn’t great filmmaking by any means (see Roger Ebert’s panning review, for instance), but The Cannonball Run remains an iconic piece of pop culture, and will probably be of passing interest to film fanatics for this reason alone.

Redeeming Qualities and Moments:

  • An all-star cast having innocent screwball fun together

Must See?
No, though it’s worth a look simply for its status as a nostalgic favorite.

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Dinner at Eight (1933)

Dinner at Eight (1933)

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“I was reading a book the other day… It was all about civilization or something. A nutty kind of book!”

Synopsis:
The socially-conscious wife (Billie Burke) of a troubled shipping magnate (Lionel Barrymore) frets over her plans for a dinner party she is hosting for — among other guests — a corrupt businessman (Wallace Beery) and his lowbrow wife (Jean Harlow); an aging actress (Marie Dressler) in dire financial straits; and a has-been actor (John Barrymore) in love with Burke’s daughter (Madge Evans).

Genres, Themes, Actors, and Directors:

  • Comedy
  • Ensemble Cast
  • George Cukor Films
  • Get Togethers and Reunions
  • Has-Beens
  • Jean Harlow Films
  • John Barrymore Films
  • Karen Morley Films
  • Lionel Barrymore Films
  • Marie Dressler Films
  • Play Adaptations
  • Social Climbers
  • Wallace Beery Films

Response to Peary’s Review:
As Peary notes, this “serious-at-the-core comedy” — featuring a “once-in-a-lifetime ensemble” cast — effectively shows how “women are able to adapt to their situations, overcoming their problems and taking control, while the man always are more passive.” Indeed, it’s the female actresses here — Harlow, Dressler, and Burke — who are the highlights of this surprisingly unfunny tragi-comedy, directed in an overly stagy and static fashion by famed “women’s director” George Cukor. The scenes between Harlow (who spends most of her time lounging in bed) and Beery are full of plenty of zingy one-liners, but their characters are so unappealing that it’s difficult to enjoy spending time with them. The same goes for Burke’s stressed-out housewife, who is so absorbed in social concerns that she neglects to notice her husband’s ailing health, and thus loses our sympathy as well. While Peary argues that “every expression and line by Dressler, whose talents have been forgotten by too many” is a comic gem, even her presence can’t quite lift the overall gloominess of the script. Ultimately, one watches Dinner at Eight simply to see so many of MGM’s glamorous stars performing together — and to hear Dressler’s final, classic line delivered to Harlow: “Oh, my dear, that’s something you need never worry about.”

Redeeming Qualities and Moments:

  • Marie Dressler as the aging actress in financial distress
  • Jean Harlow as the manipulative, social-climbing “Kitty”
  • Billie Burke, perfectly cast as the nervous socialite housewife
  • Luminous cinematography and art deco sets

Must See?
Yes. While dated and not nearly as funny as it should be, this remains a classic MGM ensemble film which should be seen by all film fanatics. Nominated by Peary for an Alternate Oscar as best picture of the year.

Categories

  • Genuine Classic

Links:

Can She Bake a Cherry Pie? (1983)

Can She Bake a Cherry Pie? (1983)

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“You seem to have a lot of energy — and it gets stuck in your forehead.”

Synopsis:
Two misfits (Karen Black and Michael Emil) find love in New York City.

Genres, Themes, Actors, and Directors:

  • Character Studies
  • Misfits
  • New York City
  • Romantic Comedy

Review:
Not a whole lot happens in Can She Bake a Cherry Pie?, an unusual, character-driven love story by independent filmmaker Henry Jaglom. Yet we can’t help getting caught up in the lives of Zee (Black) and Eli (Emil), who personify every misfit we’ve ever known — indeed, there’s something immensely satisfying about watching even these strangest of folks finding someone to love. Jaglom makes good use of New York City locales, and there are several unexpectedly fine moments — including one with a pigeon, and one in which Black (who has a lovely voice) sings the blues.

Redeeming Qualities and Moments:

  • Karen Black as the abandoned wife who finds love unexpectedly
  • Michael Emil as Black’s love interest
  • Black singing the blues

Must See?
Yes. This quirky Henry Jaglom film — while not for every taste — is an excellent introduction to his early work. Listed as a Cult Movie in the back of Peary’s book.

Categories

  • Important Director

Links:

Competition, The (1980)

Competition, The (1980)

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“That is your first husband — that! You marry it, the way a nun marries Jesus — you cleave to it because it gives your life a center that no man — that very few men — can possibly give you.”

Synopsis:
Two rival pianists (Richard Dreyfuss and Amy Irving) fall in love while rehearsing for a competition in San Francisco.

Genres, Themes, Actors, and Directors:

  • Amy Irving Films
  • Aspiring Stars
  • Lee Remick Films
  • Mentors
  • Musicians
  • Richard Dreyfuss Films<
  • Rivalry
  • Romance

Review:
The Competition tackles an interesting and provocative question: is it possible for rivals to carry out a successful romance? As someone who studied classical music for several years, I can vouch for the authenticity of the dilemma facing these two young musical hopefuls, who find themselves torn between mutual admiration, genuine attraction, and intense rivalry. Director Joel Oliansky doesn’t try to provide pat answers to this dilemma; and while Dreyfuss’s petulant behavior towards Irving may be difficult to watch, it’s realistic. Unfortunately, however, the film is marred by constant forays into the lives of the other competitors — most notably a Russian student who must deal with her teacher defecting to the West (surely included for its political timeliness rather than any other reason). These subplots distract us from the film’s primary characters, who should have remained the sole focus.

Redeeming Qualities and Moments:

  • Richard Dreyfuss as Paul
  • Amy Irving as Heidi
  • Lee Remick as Irving’s piano teacher
  • Plenty of beautiful piano music, well “performed” by Dreyfuss and Irving (who trained for four months for their roles)

Must See?
No, but it’s recommended for classical music fans.

Links:

Endless Summer, The (1966)

Endless Summer, The (1966)

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“I couldn’t help but think of all the waves which had gone to waste.”

Synopsis:
Two American surfers (Michael Hynson and Robert August) travel the world in search of the “perfect wave”.

Genres, Themes, Actors, and Directors:

  • Documentary
  • Sports
  • Surfers

Review:
Bruce Brown’s 16 mm documentary about surfing the world’s waves is, as noted in TCM’s article, little more than a glorified home video. Nonetheless, it received reasonable reviews upon its release, and, despite the hokey narration by Brown, has developed a nostalgic cult following over the years. Naturally, there’s lots of footage of the surfers out on the waves, which can get tedious if you’re not a fan — but if you’re going to see one documentary about this hugely popular sport, this should be it.

Redeeming Qualities and Moments:

  • An often amusing time-capsule glimpse at one of the world’s most popular water sports
  • Brown’s unintentionally campy narration

Must See?
Yes. This cult documentary should be seen by all film fanatics.

Categories

  • Cult Movie
  • Historically Relevant

Links:

Life and Times of Rosie the Riveter, The (1980)

Life and Times of Rosie the Riveter, The (1980)

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“We’d never had any opportunity to do that kind of work.”

Synopsis:
When soldiers return home after World War II, women doing vital work in factories are asked to leave.

Genres, Themes, Actors, and Directors:

  • Documentary
  • Feminism and Women’s Issues
  • Propaganda
  • World War II

Review:
Countless documentaries have been made about World War II — especially since the debut of the History Channel on cable — but Connie Field’s The Life and Times of Rosie the Riveter remains unique. Filmed at a time when many former “Rosies” were still alive and able to remember their experiences during the war, Riveter showcases first-hand interviews with women who experienced both a unique opportunity to learn “men’s work”, and a devastating loss of empowerment soon thereafter. Field is especially adept at showing how the American propaganda machine churned out rhetoric meant to make women feel guilty during the war if they didn’t contribute to the workforce, and guilty afterwards if they hoped to keep the jobs they’d grown to enjoy.

Redeeming Qualities and Moments:

  • Judicious use of both archival footage and contemporary interviews


Must See?
Yes, simply for its importance as a valuable cultural document.

Categories

  • Historically Relevant

Links:

Kon-Tiki (1950)

Kon-Tiki (1950)

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“What is shown is what actually took place.”

Synopsis:
Thor Heyerdahl and his crew sail across the Pacific Ocean on a wooden raft, hoping to prove that Peruvian Indians may once have settled in the Polynesian Islands.

Genres, Themes, Actors, and Directors:

  • At Sea
  • Documentary
  • Scientists

Review:
This Oscar-winning documentary — constructed primarily from 16 mm footage shot during Heyerdahl’s historic trans-Pacific voyage — remains surprisingly powerful viewing. Other than its “voice of God” narration and an opening sequence showing maps of the trip, this film tells it like it is: we feel like we’re right there on the boat with these brave men as they carry out one of the most audacious “experiments” in the history of the social sciences. Click here to read more about the expedition.

Redeeming Qualities and Moments:

  • A fascinating glimpse at the Kon-Tiki crew’s trials and triumphs
  • The climactic final moments of the crew’s journey
  • Flying fish landing on the deck of the raft each morning, providing convenient “fast food” for the sailors

Must See?
Yes. This documentary remains a fascinating look at one of the most famous sea voyages ever made. Listed in the back of Peary’s book as a film with Historical Importance and a Personal Recommendation.

Categories

  • Historically Relevant
  • Oscar Winner or Nominee

Links:

Faces (1968)

Faces (1968)

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“I want a divorce. That’s the only thing to do, isn’t it?”

Synopsis:
After announcing he wants a divorce from his wife (Lynn Carlin), an unhappily married businessman (John Marley) spends the night with a call girl (Gena Rowlands); meanwhile, his wife goes to a club with her friends and hooks up with a much younger man (Seymour Cassel).

Genres, Themes, Actors, and Directors:

  • Bourgeois Society
  • Character Studies
  • Gena Rowlands Films
  • John Cassavetes Films
  • Marital Problems
  • May-December Romance
  • Midlife Crisis
  • Seymour Cassel Films

Review:
John Cassavetes’ first “signature” movie — after his experimental debut film, Shadows (1959), and two additional studio pictures — was this utterly bleak yet cinematically groundbreaking look at a bourgeois marriage in decay. Faces features fine, natural performances by everyone involved, and provides a daringly unfiltered look at class and gender relations in 1960s America. Indeed, “unfiltered” is the operative word here: Cassavetes’ first cut of the film (culled from 115 hours of cinema verite footage) was something on the order of six hours long; he eventually edited it down to 130 minutes; but, truth be told, it’s still a long haul to get through. As admirable as Cassavetes’ unconventional, no-holds-barred approach is here, the story is incredibly difficult to watch: emotions are raw and exposed, women are treated abominably, and (in typical Cassavetes fashion) there’s sporadic physical violence and an emotional breakdown. Seymour Cassel’s “Chet” — a hippie living for the moment — brings the only blast of hope into this quagmire of unhappiness; but even he eventually vanishes, leaving these characters to deal, once again, with the oppression of their stultifying lives.

Redeeming Qualities and Moments:

  • John Marley as the successful businessman experiencing a mid-life crisis
  • Luminous Gena Rowlands as the call girl who states, “I’m too old to be lovely — and I haven’t got a heart of gold.”
  • Lynn Carlin (simply wonderful in her first role) as Marley’s unhappy wife
  • Seymour Cassel as the free-spirit who brings romance into Carlin’s life for one brief night
  • A painfully honest look at a marriage on the brinks
  • Effective, groundbreaking use of natural lighting, cinema verite camera angles, and improvised dialogue

Must See?
Yes. As difficult as it is to watch, all film fanatics should see this important movie at least once.

Categories

  • Historically Relevant
  • Important Director
  • Oscar Winner or Nominee

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

Links:

Flaming Creatures (1963)

Flaming Creatures (1963)

Comments 3 comments

“Do they make a lipstick that doesn’t come off?”

Synopsis:
Underground director Jack Smith presents tableaux of orgiastic sensuality, lipstick application, rape, and dance over an eclectic soundtrack, culminating in a plaster-shaking earthquake.

Genres, Themes, Actors, and Directors:

  • Experimental Films
  • Sexuality
  • Surrealism

Review:
Jack Smith’s infamous 43-minute underground classic — shot on partially destroyed film stock, lacking any cohesive narrative, and meant to be “a comedy set in a haunted music studio” — is admired by at least one critic (Jonathan Rosenbaum of the Chicago Reader) as a “jubilant, celebratory film” which possesses “the collective force of a delirious apocalypse”. For my money, however, I find the film devilishly difficult to grasp, and probably more hype than substance. Nonetheless, it remains an undisputed icon of experimental film, and should be seen (endured?) by every film fanatic at least once.

Redeeming Qualities and Moments:

  • A groundbreaking example of anarchistic filmmaking

Must See?
Yes, simply for its place in cinematic history. Listed in the back of Peary’s book as a film with historical importance and a Cult Movie.

Categories

  • Controversial Film
  • Historically Relevant

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

Links:

Silent Running (1972)

Silent Running (1972)

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“On this first day of a new century, we humbly beg forgiveness.”

Synopsis:
In a dystopic near-future, the Earth has been paved over, and the remaining gardens exist inside orbiting satellites manned by astronauts on a spaceship. When the ship receives order to destroy the satellites, an environmentally-conscious crewmate named Freeman Lowell (Bruce Dern) commits mutiny, and does what he can to protect his precious plants.

Genres, Themes, Actors, and Directors:

  • Astronauts
  • Bruce Dern Films
  • Dystopia
  • Mental Breakdown
  • Mutiny
  • Non-Conformists
  • Robots
  • Science Fiction

Review:
Douglas Trumbull (who created the special effects for both 2001 and The Andromeda Strain) made his directorial debut with this unusual science fiction flick. Silent Running features an impressive lead performance by Bruce Dern, and poses a provocative dilemma: what if you were asked to destroy the only remaining vegetation in existence? Would you blindly follow orders (as do the rest of Freeman’s crewmates), or take a stand and risk your life to “save the plants” at any cost? The bulk of the film follows Freeman’s gradual mental deterioration as he deals with profound loneliness, and tries to prevent his superiors from learning the truth about what’s happened. His interactions with three “friendly” robots on board the ship — Huey, Dewey, and Louie — are campy, but we actually start to care for these metallic creatures after a while, and can relate to Freeman’s fondness for them. The film’s ending generates true pathos: as Freeman makes the ultimate sacrifice in favor of his beliefs, we realize we’ve become just as invested in the outcome as our wacky yet noble protagonist.

Note: The incredibly dated soundtrack (sung by Joan Baez) quickly becomes insufferable, but is all part of the experience of this uniquely-’70s cult favorite.

Redeeming Qualities and Moments:

  • Bruce Dern as the dedicated gardener who will stop at nothing to protect his plants
  • Impressive early special effects and set designs
  • An amusing yet eerie glimpse — a la Cast Away (2000) — at how loneliness can lead to increasingly wacky interactions with non-human objects

Must See?
Yes. This cult movie — while certainly hokey in many ways — remains a surprisingly effective cautionary tale.

Categories

  • Cult Movie

Links: