“The power and the glory… What they can do to a man!”
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Review: Note: In one particularly creative sequence, as Morgan is relating the tale of how Tracy proposed to Moore, we see an effective technique (coined by the film’s producer as “narratage”) in which Morgan dictates while the characters’ mouths are silently moving. Redeeming Qualities and Moments:
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“She has the one necessary thing — talent!”
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and Agnes Moorehead makes a welcome yet all-too-brief appearance as Eagels’ acting instructor.
Unfortunately, none of the actors are helped much by the clunky script, which inexplicably veers far from the true facts of Eagels’ interesting life, instead relying on predictable and poorly conceived narrative devices. While we know that Eagels is desperate to achieve stardom, for instance, her callous betrayal of an aging actress (Virginia Grey) for a plum part in a play nonetheless seems wildly out of character for someone we’ve been rooting for since the beginning of the film:
… And her sudden descent into alcohol and drug addiction comes as just of much of a surprise, since we’ve seen no hints of this before.
Fortunately, Novak’s performance keeps us watching even when the movie’s disappointing screenplay fails. Redeeming Qualities and Moments:
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“Buddy, you’re in the wrong place at the wrong time.”
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“Biology and the prejudices of others conspired to keep us childless.”
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(Listed in 1001 Movies You Must See Before You Die) Links: |
“Don’t you think you’re taking this attraction of yours to other types of people too far?”
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Review: Unfortunately, there are a few needlessly uncomfortable moments in the film: an African-American gym employee (Roger E. Mosley) commits actions which are meant to be funny, but instead stereotype him in an offensive way; and the gym’s owner (a buffoonish R.G. Armstrong, wearing a hideous toupee) turns inexplicably violent at the end. However, these detractions are more than redeemed by the film’s strengths: a refreshingly subtle commentary on class relations in the “new south”; (mostly) likable characters; a sweet, believable romance between Bridges and Field; and an overall aura of infectious eccentricity. Redeeming Qualities and Moments:
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“I say we give the Blues Brothers one more chance.”
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Response to Peary’s Review:
— come across as cheap and unoriginal. As a musical, however, the movie benefits enormously from the talents of renowned blues artists James Brown, Aretha Franklin, Ray Charles, and others; their appearances mark the indisputable highlights of the film.
Cameos by Carrie Fisher, John Candy, and others are wasted in this inexplicable cult favorite. Note: The Blues Brothers was “renowned” as the most vehicularly destructive film made to date — but a little of this goes a long way. Redeeming Qualities and Moments:
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“The deal is over. I want my end, and I’m out.”
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Unfortunately, however, it remains a less-than-satisfactory film, due primarily to a lack of vested interest in Caan’s character. He comes across as bull-headed rather than sympathetic, and his unwise decision to get involved with the Mob shows that he isn’t really ready to come clean. The moral of the film is crystal-clear: a connection with the Mafia is for life; don’t try to delude yourself otherwise. Redeeming Qualities and Moments:
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“You notice how it’s Monopoly out there?”
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“In other words, gentlemen — in effect — we declare war on Monday, we are defeated by Tuesday, and by Friday we will be rehabilitated beyond our wildest dreams!”
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“I’ve lived in this city all my life, but somehow today I felt everything had changed — people were different.”
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Peary also laments the loss of political subtext so prevalent in Siegel’s film, but this doesn’t really matter: a world in which everyone you know suddenly becomes “somebody else” is a scary enough premise to exist on its own. Finally, Peary complains that Kaufman places too much emphasis on “special effects and snazzy visuals”, but I disagree; other than the subtle yet effectively creepy opening sequences of spidery alien wisps growing into tiny flowers:
… special effects don’t make an appearance in the film until almost halfway through — at which point they’re used judiciously and to good effect. With that said, Kaufman’s version does run a bit too long, and I could have done without the subplot involving Sutherland’s crush on the married Adams:
Nonetheless, this remains a surprisingly effective remake, and is well worth watching on its own merits. Note: Watch for several notable cameos: Don Siegel — director of the original …Body Snatchers — appears as a “replaced” taxi driver; Robert Duvall is shown in the very beginning as a creepy priest on a swing:
… and the original movie’s star, Kevin McCarthy, reappears as a man running wildly through the streets. Redeeming Qualities and Moments:
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