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Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975)
Ackerman's feminist milestone tests your patience
Vivid, uncompromising portrait of three days in the lonely life of a middle aged widow who manages her apartment, takes care of her young son and turns tricks for support.
Experimental film consists of stationary, single take camera shots - some lasting several minutes - giving you a glimpse of the main character's repetitive, mundane existence. Whether its stopping at a café to drink coffee, peeling a batch of potatoes in the kitchen or cleaning each porcelain piece in her living room, viewers sit through each arduous task all the way through. It reminded me of some modern day reality shows where a camera is just parked in a room and viewers watch whatever goes on - only in this case Jeanne is usually the only one there.
Delphine Seyrig performance as Jeanne really shines. She is in every scene of the film and really carries it well. It is even more impressive considering that there is very little dialog and that any other characters that appear are peripheral. Seyrig convincingly conveys Jeanne's character and emotional state by simple actions and subtle expressions. This really comes into play on the third day when things start to go wrong and you feel the character is starting to become unhinged.
The camera work and framing of the scenes are exceptionally well done and sound is used very effectively to convey Jeanne's suffocating world. The constant tapping of her shoes as she walks across a wooden floor, the repeated clicking from turning lights on and off, or the mechanical sounds of the elevator each time she goes in or out of her apartment building, they all emphasize the obsessive orderliness and emotional detachment in her life.
The biggest negative about the film is that it is nearly 4 hours long. Sitting that long watching a person doing menial tasks is a bit taxing. I viewed the film piecemeal over three successive evenings (1 for each day represented) which worked for me. On the positive side, the film does grow on you as you watch it and you feel like a bit of a voyeur peering into someone's life. You feel Jeanne's monotony and growing frustration which lets loose in the final shocking act. It's worth checking out.
Hausu (1977)
Experimental horror flick not for all tastes
Six teenage girls go to spend a pleasant week at an Aunts remote house. Unknown to them, the Aunt – and the house – have other intentions.
Hallucinogenic horror-comedy from Nobuhiko Obayashi - very much like stepping into a live action Salvador Dali painting with a horror motif. The familiar, simplistic horror plot is just an excuse for an unrelenting assault on the senses as conventional cinematic story telling is shown the door and replaced by every cinematic trick and gimmick imaginable.
Obayashi fills every minute of screen time with weird camera angles, slow motion dreams, fast motion tracks, unconventional sounds, psychedelic animations and colorful backdrops to move things along. It sets a surreal, absurdest tone which pervades every scene.
In fact, each scene is extremely bizarre in its own right - especially as the girls are individually besieged by evil forces. A laughing, decapitated head floats through the air and attacks one of the girls – biting her on the ass, another girl freaks out at dinner as the host secretly watches her with three eyes – the third peering out of her mouth, a gravity defying karate match ensues between the most athletic girl and a demon possessed lamp shade, and in one of the stranger scenes in cinema, a girl playing a piano is literally eaten by the instrument. As her consumed body parts reside within the casing, her floating, disencumbered fingers begin playing a tune on the keyboard - complete with flashing colored lights!
At its core, this is a Carmella-like vampire flick with the old Aunt getting younger each time one of the girls disappears. What sets it apart from similar movies is its whimsical air, nonsensical imagery and unending gimmickry. While some people admire the film's experimental nature, I think more will be turned off rather quickly. I was already annoyed after ten minutes and had a hard time sitting through the whole thing.
Cash on Demand (1961)
Suspenseful bank heist film from Hammer
A by-the-books bank manager is forced to rob his own bank by a charming thief who holds his family hostage.
Peter Cushing and Andre Morrell repeat the solid on screen chemistry they displayed three years earlier when they teamed up as Sherlock Holmes and Dr. Watson in Hammer's version of The Hound of the Baskervilles (1959). This time they are antagonists with Morrell playing the suave robber and Cushing - in a change of pace role - as the ultra priggish banker. Morrell is deliciously nasty but Cushing really deserves some acting kudos for creating a "jerk" of a character that you actually start to sympathize with as Morrell turns the screws.
Quentin Lawrence, a veteran of British TV, skillfully directs a tight script in a confined setting and keeps the tension high and story moving - almost like it's unfolding in real time. Once the normal routines and relationships are quickly established, he ratchets up the tension with Morrell's arrival and never lets up. The psychological duel begins and it's a treat to watch.
My only nitpick about the film is the ending which I thought was a little too neat and tidy for my taste.
The Super Cops (1974)
Gritty New York crime drama with a sense of humor
Two rookie cops join forces to try and make a difference fighting crime on the streets of New York. They quickly learn they must also fight the corruption and bureaucracy in their own police department.
Entertaining and offbeat crime drama from Gordon Parks which served as his first follow-up feature after directing the two successful Shaft films with Richard Roundtree. Like that series, Super Cops is given a big lift by some great on-location shooting in New York City which really captures the gritty look and feel of 1970's street life.
It also benefits from two likable performances from Ron Leibman and David Selby as the rookie duo "affectionately" nick-named Batman and Robin by the locals. The rest of the cast is a solid mix of familiar faces from the crime and blaxploitation films from that era. Standing out is Pat Hingle as a gruff inspector trying to bring down the boys and Sheila Fraser - fresh off her appearance in the Super Fly films - as a prostitute.
The screenplay is based on the real life exploits of NY police officers David Greenburg and Robert Hantz (who both have cameos in the film) and frequently veers between comedy and drama - albeit somewhat unevenly. It is still held together by the engaging story and the smart direction of Parks.
La congiura dei dieci (1962)
Good European costumer with Stewart Granger
An English swordsman for hire is employed by a Spanish Governor ruling an insurgent Italian province. He becomes the bodyguard of the future duchess and is soon embroiled in court intrigue and the growing rebellion.
This film marked the beginning of Stewart Grangers career expatriation to Europe after his estrangement with the powers that be in Hollywood. In this context, it's not a bad costumer and recalls shades of his former success with Scaramouche. In fact, the film has some surprisingly energetic action scenes - most notably - some well staged sword fights where Granger aptly shows his swordplay skills and a grueling horse race at the end of the film.
The story and plot are standard fair for this type of movie but are handled well and given a lift by Grangers charming delivery. The pace is brisk, the widescreen photography is nice and the Italian cast comes off pretty well led by Sylva Koscino as the fiery duchess. In fact, the film succeeds on many levels emulating a good Hollywood costumer with one exception, the music. It's atrocious. The movie screams for the fiery score of a Korngold or a Max Steiner but is instead left with fluff. It doesn't kill the movie but it hurts.
The Devil Rides Out (1968)
One of Hammer's finest.
Two old acquaintances visit the son of a late friend and find he is being forced to join a satanic cult. They try to prevent it which incurs the wrath of the groups' leader. Hold on to your seats! Thrilling and atmospheric chiller from Hammer Films which, along with Curse of the Demon (1957) and the original Wicker Man (1973), represents one of the best forays into devil worship and the occult put on film.
Despite a modest budget, the film has a stylish period feel and moves along at a brisk pace. The script is very intelligent and stays within the realm of the believable which greatly adds to the suspense. Director Terence Fisher also keeps the tension high with several gripping sequences - the highlight being a black magic duel between good and evil as a small group of protagonists seek safety within a sacred circle and are besieged by demonic forces. It's a cinematic tour de force.
The entire cast is good with Christopher Lee very effective in the lead as an occult expert in one of his rare turns as a good guy. Charles Gray however, steals the show as Mocata, the leader of the satanic group. His character exudes a quiet menace which is evil and overpowering. When he threatens one of the ladies with "I won't be back
but something will," you just feel some bad things are going to happen when the sun goes down.
Overall, a very stylish and entertaining tale of devil worship from Hammer.
Lawrence of Arabia (1962)
Simply the Best
Epic biography of English colonel TE Lawrence who led the Arab revolt against the Turks during World War One.
My candidate for greatest movie ever made. Superbly crafted in every way; sterling performances from the cast, a literate script by Robert Bolt, dazzling camera work by Freddie Young, detailed production design by John Box and a beautiful music score by Maurice Jarre. It is all seamlessly assembled together by director David Lean in a masterwork.
The story follows Lawrence's un-military like beginning as a mapmaker in Cairo at the start of the war and his subsequent mission for the Arab bureau to report on the Arab revolt in the desert. While there, he gets the factional tribes to unite and gradually assumes command leading them on a series of daring military raids against the Turks which lead to his fame and legend.
Then unknown, Peter O'Toole plays the lead and carries the film in a star making performance. He is ably supported by newcomer Omar Sharif in a large supporting role and a who's who list of seasoned performers. Claude Rains as a dapper politician, Alec Guinness as Prince Feisal and Anthony Quinn as a fierce Arab warrior, Auda come off best but there is really not a false note in the entire group - everyone is solid.
Leans previous editing experience is also on frequent display in the film as he composes his shots with the discerning eye of an editor and it shows in almost every scene; blowing out the match and transitioning to the rising desert sun, the dazzling motorcycle ride thru the English countryside during the opening sequence, Sheriff Ali's mirage-like emergence from the desert at the water well - its just one great scene after another.
It is also a rare film that while epic in scale it never loses the intimate details of the characters or story - always holding your attention despite a length of almost four hours. The story itself still maintains relevance as it shows the factional nature of the middle east who's countryman are able to unite during war against a common enemy but can't keep it together while at peace.
Anyway, watch this movie on the largest screen you can with the best sound system you can and prepare yourself for a mesmerizing journey through the desert.
Höstsonaten (1978)
Good Bergman, Not Great Bergman
Typical introspective Bergman film with exceptional performances by Liv Ullman and Ingrid Bergman.
The latter plays a famous concert pianist visiting her daughter after a long absence. Both harbor a mutual hope for reconciliation from their estranged past but the emotional baggage carried by each may be too much to overcome.
The film is beautifully photographed and the script is engrossing but it is extremely "wordy" even for a Bergman film. There is lots of voice over narration, lots of flashbacks, lots of static dialogue, and lots of static monologue (sometimes with the character talking directly to the camera.) The on focus mother-daughter relationship is sad in itself but the overall gloom is layered on pretty thick - loss of parent, loss of husband, loss of child, bad parenting, absentee parenting, repressed anger, forced abortion, disabled child, spastic cerebral palsy, disgust, hatred, emotional detachment and so on......
This is the perfect movie to watch if you're a psychoanalyst but for the casual viewer it's pretty depressing stuff. A lot of reviews give this film very high marks but this is not grade "A" Bergman. It is superbly crafted and well acted but it comes across more like a filmed stage play than a movie.
Where It's At (1969)
Not Where It's At!
A hard-nosed casino owner wants to bring in his estranged son to learn the family business. He gets him - albeit reluctantly - to try it out, but soon gets more than he bargained for.
Strange late sixties film. It's listed as a comedy but it's not really funny. Maybe on some satiric level but even that is stretching it. It comes across more as a family drama with some unconventional elements thrown in. The main crux of the story involves the strained father-son relationship but the script throws in all kinds of subtexts pertinent to that time (e.g. love generation sensibilities versus the Dean Martin set) which only serve to convolute the whole thing.
David Janssen and Robert Drivas as the two male leads don't offer much depth to their roles and their characters are so different from each other its hard to believe they are father and son. Rosemary Forsyth and Brenda Vaccaro come off much better in support with the latter a standout as a flaky secretary. Don Rickles also has a nice cameo as a cheating card dealer.
Overall, "Where It's At" is more interesting as a historical curio which gives the viewer a rare glimpse of Vegas during that era. Especially well presented is Caesars Palace where most of the action takes place.
One other note about the film is that it frequently employs impressionistic style editing which may not be everyone's cup of tea. Viewed today it seems a little heavy handed and dated.
Shadow Creature (1995)
Crazy Low Budget Horror
A detective discovers that a series of local murders is somehow linked to a hair tonic formula with some unusual properties. When some of the tonic is accidentally spilled into a tank of Zebra Mussels – the fun really starts.
A low budget, monster-on-the-loose flick with elements of horror and comedy blended together in equal measure. Some fine location photography and an exceptionally good soundtrack help offset the films general lack of suspense, a weak script and some wooden acting. The film could easily trim fifteen minutes off and it would be a nice, lean addition to the horror-comedy genre. As it stands, it starts off slow but gets into a nice rhythm in the second half and actually delivers some genuinely funny moments. The creature is acceptably gross and there's plenty of gore on hand for those into that type of thing.