“I’ve been living that diary tonight — living the strange, distorted lives of Nick and his sister.”
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Review: Note: The film’s title is taken from the following provocative quote by Hippocrates (voiced by one of the characters): “Life is short, art is long, decision difficult, and experiment perilous.” Redeeming Qualities and Moments:
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“If you ask me, anybody that offers a million bucks to solve a crime that ain’t been committed yet has lost a lot more upstairs than his hair.”
[Note: The following review is of a non-Peary title; click here to read more.]
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A host of big-name actors give boldly satirical performances playing humorous variations on Charlie Chan, Miss Marple, Hercules Poirot, Nick and Nora Charles, and Sam Spade/Philip Marlowe — with Peter Falk in the latter role given some of the best lines in the film:
Alec Guinness, however, steals the show as an hysterically incompetent blind butler; his attempts to communicate with a deaf/mute maid (Nancy Walker) are priceless.
Meanwhile, in his first and (mercifully) final acting role, Truman Capote gives a distinctly underwhelming and snively performance as millionaire Lionel Twain:
Fortunately, he’s not on-screen for very long. While the script itself isn’t quite as consistently amusing or clever as fans may remember from earlier viewings, I’m nonetheless including Murder by Death here as a Missing Title, given its enduring cult status — film fanatics will want to watch it at least once. Redeeming Qualities and Moments:
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“I am precisely what I am because I have eaten my way to the top.”
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Review: Redeeming Qualities and Moments:
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“You have to wear that capsule like you wear your own skin.”
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Review: There’s little to distinguish Countdown as an “Altman film”, though he does utilize some overlapping dialogue, and there’s a bit more emphasis on relationships than plot; the following year’s M*A*S*H (1970), however, would be his true breakthrough film. With that said, Countdown is a competently made, solidly acted drama: Duvall is in prime form as an embittered astronaut who is justifiably pissed off that his less-experienced friend has been given his spot (simply for political purposes), while Joanna Moore stands out in a thankless role as Caan’s worried wife. Women aren’t given much due in the screenplay (Barbara Baxley as Duvall’s wife is practically non-existent), but Moore manages to expertly convey the shift her character undergoes once she realizes that she really has no control over her husband’s decision to pursue the dangerous mission; she’s the epitome of pre-feminist wifely survival, and surprisingly intriguing to watch. Redeeming Qualities and Moments:
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“What will you have? A human form with animal instincts!”
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— co-starring with character actor Milburn Stone (cast because of his resemblance to real-life trainer Clyde Beatty) and the ever-reliable John Carradine as a villainous medical kook determined to commit glandular manipulation on his “patients”.
There’s little to the hour-long story, which is essentially concerned with relating the folly and danger — a la The Island of Lost Souls (1933) — of attempting to merge animal and human “forces”:
It evokes the general aura of Val Lewton’s RKO films, but without their psychological depth. Instead, it’s padded out by plenty of footage of Stone (actually Beatty) working with wild tigers and lions — footage which at times seems to go on for a bit too long. With that said, director Edward Dmytryk manages to add some atmosphere to the proceedings, and fans of the genre will certainly be curious to check it out once. Redeeming Qualities and Moments:
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“We cannot always do what we wish without harming others.”
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… and finds the covetous stares of her fiance’s uncle (Rains, excellent as always) utterly creepy. It’s not until the second half of the film that the story’s more atmospheric horror elements come into play, as we question how and why Drood has disappeared, all while suspecting that Rains — given his shadowy dealings with a cemetery caretaker, and his addiction to opium — may play a critical part in the mystery.
While Mystery of Edwin Drood isn’t essential viewing for all film fanatics, it’s certainly recommended, particularly for Dickens fans — and Rains’ performance is, as always, well worth a look. Note: Director Stuart Walker, who died of a heart attack in 1941, also helmed the Peary-listed titles The Eagle and the Hawk (1933) and Werewolf of London (1935). Redeeming Qualities and Moments:
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“Men fantasize about her; women trust her.”
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… and we’re relieved that he ultimately “manages to be a positive influence.” Adding to the film’s dreamlike ambience are Jan Kiesser’s cinematography (evoking a nighttime L.A. unlike any other I’ve seen) and the jazzy soundtrack by Teddy Pendergrass, whose “Choose me, baby” refrain emerges at strategic, emotionally loaded moments. Redeeming Qualities and Moments:
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“I don’t even know what the word love means anymore.”
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With no offense meant, Tomlin (whose partner, Jane Wagner, wrote and directed the movie) simply isn’t the most fetching of women, so it’s difficult to understand why a young hunk like Travolta would fall head over heels for her. Indeed, during the intriguing first half hour of the film, we’re convinced, much like Tomlin’s “Trisha”, that “Strip” (yes, that’s Travolta’s name here, and it’s good for a few laughs) must be a con-artist out to abuse her wealth; once it’s revealed that he’s genuinely in (puppy)-love with her, all disbelief must thereafter be suspended. With that said, Moment by Moment isn’t nearly as bad as its critics would have you believe: Tomlin is fine, if a tad one-note, as a depressed housewife whose husband has cheated on her, and Travolta is actually quite charming as a young drifter with no one to cling to but Trish. While the soaper storyline is utterly predictable (Tomlin is ashamed to be seen with Strip — who knew?!):
… you may be surprised to find yourself rooting for this unconventional couple by the end of the film. Redeeming Qualities and Moments:
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“Sara has no mother, and we’ve never been separated for more than a few days.”
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“The force will be with you, always.”
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Sophisticated modern viewers seeing Star Wars for the first time may actually wonder what all the fuss is about, given that much of it comes across today as either campy (i.e., the infamous “cantina scene”) or dated, and the special effects — while revolutionary at the time, and still largely impressive — have since been surpassed. With that said, the film is, as Peary notes, both “craftily made”, and (with the possible exception of Hamill as Skywalker) “brilliantly cast”, effectively balancing veteran and young actors. It deservedly won a passel of Oscars: for special effects (the final battle sequence — while it goes on for too long — is especially well done), costume design, sound effects, art direction, editing, and best original score (by John Williams). Harrison Ford is hunky and memorable in his breakthrough role as Han Solo; Carrie Fisher (only 17 years old!) is effectively spunky as Princess Leia (those buns!); and Alec Guinness couldn’t have been better cast as the “wise and noble Jedi warrior Ben ‘Obi-Wan’ Kenobi”. Film fanatics, regardless of their personal connection with the movie, will doubtless agree that its “tremendous spirit, sense of fun and adventure, excitement, hip humor, imaginative characters, and fast-paced, uncomplicated story” deservedly “touched a universal nerve”, and that Star Wars remains indispensable “must see” viewing. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
