ms94801 Reviews

Sodom and Gomorrah (1962)

Two unforgettable moments

[16 February 2003]

One has already been mentioned, Anouk Aimee greeting her subjects with the immortal line, "Greetings, Sodomites!" This is the equal of anything in the infamous, utterly hilarious 1956 John Wayne-as-Genghis Khan disaster, "The Conqueror."

The other is a great short scene between Stanley Baker and Ms. Aimee, playing brother and sister, that simply crackles with over-the-top incestuous sexual tension, as he passionately bites the oversized jewel from the ring on her shapely hand, whilst her eyes smoulder with dangerous desire.

Other than that, this is a middling biblical epic, but certainly no classic.

5/10.

Age of Treason (1993 TV Movie)

Disappointing mishmash

[1 February 2003]

I'm a huge fan of Lindsey Davis' mystery series set in First Century Rome, and was really disappointed by this filmic conflation of several of her early Marcus Didius Falco novels. The primary flaw, which spoils anything good in the movie (and there IS some good stuff here) is the woeful miscasting of Bryan Brown as Falco. I've loved Brown in several other movies, but he isn't the guy for this role. Most especially distressing is his lower-class Aussie accent, which is completely wrong for Falco -- he could never have won the heart of a Senator's daughter talking like this!

It's really a shame, because the Falco series deserves a treatment like what the BBC provided for "I, Claudius." It's that good.

Just Visiting (2001)

Delightful fun! Ignore the naysayers!

[24 January 2003]

Frankly, I don't understand the many crabby IMDB reviewers who put this movie down as "unfunny" or "a waste of time." I'm rather a snob, myself, when it comes to movies, and I had a really great time laughing at the hilarious situations which the two medieval time-travelers get into in 2001 Chicago. Sure, it's not one of the most subtle and elegant of comedies, but I thought it was fun throughout, and some of the scenes were absolutely priceless. I'll definitely have to find a copy of the French original on which "Just Visiting" is based since, apparently, it's even better.

Umberto D. (1952)

The dog's name was "Flag." (I think...)

[3 August 2002]

I'm bemused by several previous reviewers here who variously give the name of Umberto's beloved terrier as "flaic" or "flick." My copy, taped from TCM's Italian film festival introduced by Scorsese's VIAGGIO, clearly identifies the pup as "Flag."

That said, "Umberto D" is one of the greatest masterpieces by any Italian filmmaker and, with each viewing, comes ever closer to being my favorite European movie.

The film is everything other posters have claimed: terribly sad, deeply moving, and yet with a gentle wisdom behind the tears which enables us to endure our human tragedy just another day.

Umberto himself is a wonderfully realized character. Embittered by his fall from the respectability of civil servant to the poverty, desperation and irrelevance of a needy old man in an uncaring world, he still has pride, and pride, along with his deep attachment to his nice little pooch Flag and his own real humanity, keeps him alive.

Umberto is not always pleasant to be around: sometimes he is querulous and curmudgeonly, and you want to scream at the unbending pride which prevents him from directly asking for help from old friends, but who can blame him for being human? To him, the poorhouse is a fate worse than death, and he's probably right. A previous poster referred to the great scene where Umberto ALMOST summons up the will to hold his hand out for spare change...and what about what immediately follows that scene, where Flag sits up on his hind legs and holds his master hat in his mouth to beg? He'll do anything -- even sacrifice his own dignity -- to help Umberto survive, even if Umberto himself can't. Whatever his flaws, you quickly come to care very much about Umberto and Flag, and it's because you identify with him, for Umberto, ultimately, is you and every other person who is born and dies.

All of the characters in Umberto D are wonderful -- even Lina Garrari's callous landlady is a full human portrait. Sure, she's mean to the old man and wants to evict him for non-payment of rent and because he is declasse, but she IS running a business, she's a person of some culture and sophistication, and her friends seem to like her. When Umberto suffers a "heart attack" and calls to be taken to the hospital, she is transfixed in the doorway, her face an ambiguous mask of...guilt for her treatment of him? And something more, of course...maybe a little shame that now she'll get her way?

Umberto's only human friend, the maid Maria, is the perfect complement to these characters. Young, but not innocent...kind and caring, but completely aware that life sucks, and that that's just is the way things are. She empathizes with Alberto and shows him whatever kindnesses she can, but she accepts his tragedy as inevitable. She is pregnant, but understands that neither of her lovers will recognize her child, and that it's her problem -- that's life.

And, then, of course, there's Flag. His acting in the final scene at the park and railway track is just magnificent.

There are many, many wonderful moments in this movie which remain indelibly marked on the memory, the acting is superb across the board, and it just goes to show that "low-budget" has never stopped a great master from creating a great movie, as de Sica has done here.

10/10 -- one of the very best ever.

Cabeza de Vaca (1991)

Interesting, but not historical

[27 July 2002]

"Cabeza de Vaca" may be viewed as a surrealistic rumination on the nature of early contact between Europeans and North American Indians, but it has very little to do with the actual narrative of events as presented to Charles V by Alvar Nunez Cabeza de Vaca in his 1542 report.

Viewers who may wonder about the rapid transition from Florida to the Southwest in the movie should realize that the opening scene depicting the separation of the rafts of Captain Narvaez and Cabeza de Vaca took place off the coast of Louisiana WEST of the Mississippi more than a year after their first landfall in Florida, despite the meager information provided in the opening credits. Cabeza de Vaca is also presented as Treasurer to the King of Spain, when in fact he was merely treasurer of that particular expedition.

And although the long sequence early in the movie showing Cabeza de Vaca's period of slavery to the Indian sorcerer and the armless dwarf is quite interesting to see, there is no corresponding incident in the explorer's writings. C de V did report on a brief period of enslavement, but that is all. No sorcerer, no dwarf.

Similarly, the bond created between C de V and the young Indian who he cures by removing an arrowhead is not in the original narrative, but rather a conflation of several different episodes from the journey.

The key scenes of capture and near-murder by the blue-painted Indians are wholly the creation of the screenwriter.

The movie has an inconsistent approach to nudity. Most of the Indian tribes encountered by C de V went entirely naked during the warm season, but are almost always shown with at least some kind of loincloth. However, during the "blue Indian" sequence and later, when the survivors are taken in by friendly Indians for a while, full nudity is present among the females, and even full-frontal on the part of an Indian girl who offers herself to one of C de V's men. Meant to be tittilating? I don't know. It wasn't. In C de V's report, he notes a number of times that he and his Spanish companions were, for a long period, "naked as the day we were born," but there is no male nudity whatsoever in the film.

So what is accurate? The suffering endured, for sure, and the apparent success of the Spaniards in "curing" Indians through the power of God. The arrival in Mexico toward the end, and the capture of the Indians there as slaves. That's about it.

Nevertheless, the film holds the attention throughout, and the final scene of Indians bearing the enormous silver cross through the desert is quite arresting.

6 out of 10 for me.

Queen Christina (1933)

Garbo at her peak

[22 June 2002]

I'm in the middle of "Wednesday Night is Greta Garbo Night" on TCM, and I am as happy as the proverbial pig. A whole month of Garbo -- 27 films! 1927-1941!!! Needless to say, I rushed right off to Target to stock up on blank videocassettes! I'm the King of the World! The dream of a lifetime fulfilled!

"Queen Christina" is merely one of Garbo's greatest performances, but it's second to none. She imbues the role of the conflicted Swedish monarch with majesty and vulnerability, and also embodies the clarity, determination, assurance, and style of a great ruler. This Christina is no silly Mary Queen of Scots, thoughtlessly throwing everything away for love, and sowing the seeds of her own destruction. Garbo's queen sacrifices power for a man, true, but only because she understands that she can't have both and must have love, that Sweden will still flourish without her, and that to fulfill her deepest needs as a human being she must accept the inevitable cost. She is a lover of the arts, a reader of great books, curious about the entire world and thirsty to drink at the well of experience. She is a bohemian, and there's little satisfaction for her in wielding great power while being denied the opportunity to live fully.

Whether this is an accurate portayal of the historical person is really beside the point. "Queen Christina" is an MGM costume spectacular with MGM's biggest star. And Lord, is she gorgeous!

Watching John Gilbert as Antonio makes me wonder why he didn't last for long in talking pictures. His hairstyle here makes him look a bit goofy, but he's a handsome guy and his speaking voice is perfectly adequate. He doesn't come close to Garbo in charisma -- who does? He handles the role quite well, and the mutual affection of the pair is palpable.

At least one poster has questioned whether the implied homoeroticism of several scenes in this film really exists -- the kiss between the queen and her lady-in-waiting, the "No Chancellor...I shall die a bachelor" line, the reaction of Antonio's servant about him staying in bed all day with "the other gentleman." S/he is wrong -- it's definitely there. But I think Ruben Mamoulian was just having a little fun with Christina's "masculine" eccentricity to add some spice to the story. She was hailed as a "king" at her coronation, and a king she endeavored to be.

Some viewers might find "Queen Christina" dated. It's terribly romantic in the style of the 1930s, and if you can't buy into that you might have problems. Also, there's the characteristic cliche of all the old MGM period films dealing with royalty -- the ceremonial entrance of nobles into the court, accompanied by fanfares and stately music. I counted four of those in this movie -- oh, well, it goes with the genre.

And that final scene? It really is unforgettable!

Grand Hotel (I) (1932)

Dated, melodramatic...and MAGNIFICENT

[20 June 2002]

I've seen "Grand Hotel" at least fifteen times -- more than any other '30s film with the possible exception of two other classics: "King Kong" and Astaire and Rogers' "The Gay Divorcee."

Quite a few others reviewers here have commented negatively on this "creaky" old film. They are correct -- it is -- and yet, who cares? It's utterly wonderful!

The whole cast is superb -- charming, desperate, vulnerable John Barrymore; cynical, sad, appealing Joan Crawford; pathetic, whining, irrepressible Lionel Barrymore; coarse, selfish, all-too-humanly cruel Wallace Beery; and of course, the great Greta Garbo. The supporting cast, led by Lewis Stone and Jean Hersholt, are equally good.

Those who criticize Garbo as over-the-top in her portrayal of the prima ballerina are right. She IS over-the-top, AND she is absolutely glorious, whether wallowing in self-pitying, suicidal despair or radiant as the spring with a new love which astonishes and transports her. What a unique, unforgettable screen presence! What a Goddess!

"Grand Hotel" holds this viewer, anyway, entranced from beginning to end. In addition to the superlative acting, the art deco design is stunning and the music always appropriate.

Creaky? You bet. Do they make movies like this anymore? Nope. Do I wish they did? I sure do.

Se7en (1995)

Depraved, revolting and obscene

[8 June 2002]

This movie, and all the praise it engenders on this web site, make one despair for humanity in general, and for contemporary America in particular.

Technically excellent, "Se7en" is a soulless, cold-blooded monstrosity which exults in the worst evils the human mind can encompass and uses every manipulative device known to modern cinema to tittilate and excite a degenerate audience. Detective Mills (Brad Pitt), an immature, poorly educated, foul-mouthed, impulsive and shallow caricature of a man, is the template for the rootless, heartless, mindless young males who cheer this film as "one of the greatest of all time." It is NOT. It is filth and corruption incarnate.

0 out of 10. Every print of this bestial nightmare should be dissolved in the most corrosive acid possible.

Cleopatra (1963)

Was Liz Taylor too white?

[8 June 2002]

I reviewed this film for IMDb last year when I had a different e-mail address, but upon seeing more recent comments I need to make a point.

Several reviewers complain that Liz Taylor was too "pasty-white" to play the historical Cleopatra, one saying that she should have been played by an African-American or otherwise dark-skinned actress. Cleopatra's ancestry has been called into question in recent years by Afrocentric "historians" (ideologues, really) who are obsessed with the dubious notion that ancient Egypt was a black African civilization. There's no doubt that ancient Egyptians, like their modern descendants, were a diverse people with skin colors ranging from quite light to very dark -- this is demonstrated by their tomb paintings and sculptures.

But Cleopatra was a member of the Ptolemaic Dynasty -- she was NOT Egyptian, but Macedonian/Greek, and therefore was certain to have the coloring of that ethnic group, which included gold-blondes like Alexander the Great as well as brunettes. Cleopatra's antecedents are known in detail back to Alexander's general Ptolemy, and we can be sure that she definitely was NOT African in appearance. Ancient historians also tell us that she was not a beauty, but instead fascinated powerful men with her intellect and personality -- this is borne out by surviving coins of her reign, which depict a rather sharp-nosed woman who, nevertheless, has no African features.

I recently saw the OK TV movie of "Cleopatra" with Lenore Varela in the title role. This Hispanic lovely conforms to the contemporary but inaccurate concept of Cleopatra as dark-skinned, although Varela is by no means African in her appearance. Egypt is a very sunny place, and you may be sure that ancient Ptolemaic queens didn't go outside much to work on their tans.

The Miracle of Marcelino (1955)

Religious horror tale

[6 June 2002]

In 1958, when I was in the fourth grade in a Brooklyn Catholic school, we kids were taken by the nuns to see a double-bill of "Marcelino Pan y Vino" and "The Song of Bernadette." It was perhaps the most morbid day of my life. I was deeply shocked and disturbed by this movie, and have never forgotten it. It seemed to have a similar impact on the other kids.

In brief, the story: the orphan Marcelino is taken into a Spanish monastery, and begins to grow up amidst the mostly kindly monks. He is forbidden to enter a certain attic room, but does so anyway, and discovers an enormous crucifix with a typically gory figure of Christ. He apparently hallucinates that Jesus comes to life on the cross and accepts his gift of bread. The monks discover that he has entered the room, and are very angry with him. Later, Marcelino is fatally stung by a scorpion, and the monks give in to his plea to be taken to the attic room to see the crucifix. As he dies, Jesus comes alive again, leaves the cross and, enfolding Marcelino in his arms, ascends to heaven with the spirit of the little boy.

Death, martyrdom, whatever you want to call it -- the theme is delivered to the viewer through a haze of superstition and fevered religiosity -- and the same is also true of "The Song of Bernadette." These movies were very inappropriate material for young students, and I have resented being forced to see them ever since.

Druids (2001)

Miscasting hurts interesting storyline

[2 June 2002]

This film about the Gallic hero Vercingetorix could have been much, much better, although it is not the total loss that many of these reviews indicate. The story originates ultimately in Julius Caesar's self-congratulatory "The Gallic Wars," a personal history of the Roman conquest of Gaul in the first century BCE. The movie could have been a thrilling epic of national resistance, but falls short through a rather clunky script and the horrible miscasting of the two lead roles.

Christopher Lambert is an atrocious title character, utterly lacking in the charisma and intelligence which made Vercingetorix the only man to ever unite the Gauls for a common purpose. Liam Neeson might have carried this off, or even Ewan MacGregor, but Lambert is so lacking in talent that he forms a black hole at the center of the film. Klaus Maria Brandauer is a fine actor, but simply did not convince as the great Caesar, one of the most remarkable military and political figures in history. Again, no charisma whatsoever.

The acting in supporting roles is a bit better. Inez Sastre as Epona is quite lovely and charming, and the various Gallic chieftains and the druidess Rhia are convincing. Max von Sydow should have made an excellent Archdruid, but wasn't given much to do or say and basically just walked though the role.

The storyline is another problem, since much of the information necessary to make sense to those who don't know Caesar's history is not provided -- a voiceover narrative would have helped greatly in tieing various scenes together. And, I saw this film under the title "Druids," yet we learn absolutely nothing about the Druids and their fascinating culture although they do appear now and then. Other aspects of Gallic culture, such as execution by being burned alive in a wicker cage, are depicted but not explained in any way.

Another reviewer has criticized the costumes and weaponry as inauthentic -- he is incorrect. The "middle ages" clothing he pans closely resemble what we know about the garb of the ancient Gauls through Roman depictions and descriptions, and the great iron longswords of the Gallic warriors are exceptionally authentic in detail -- the Gauls had left the Bronze Age behind centuries before the time of this story -- they may have been tribal, but they weren't primitive.

All in all, a disappointment, which is too bad because this might have been a hell of a good movie. My rating: 4.5 out of 10.

Demetrius and the Gladiators (1954)

One unforgettable talent

[16 January 2002]

I saw this movie at age eight when it was released and have seen it once since, perhaps twenty years ago. The first viewing was the more impactful, for two reasons: first, for some reason I've never understood, it was not shown in technicolor but in an amazing purple and white scheme that is unique in my experience (any other reviewers know anything about this?), and second, Jay Robinson's totally over-the-top performance as Caligula. To this day, I remember with fond bemusement the way he sprang from his throne and screwed up his skinny body in fury to shriek "KILL HIM! KILL THEM ALL!" in a quavering nasal falsetto. Absolutely wonderful!

Other than that, this movie is a pretty standard '50s sex-and-reverence Biblical potboiler, with really dreadful acting by Victor Mature in the title role, and Susan Hayward more luscious than ever as Messalina. I wouldn't go out of my way to see it again, but I would love to see clips of Jay Robinson's performance, anytime.

Chushingura (1962)

Overwhelming, Brilliant, Magnificent!

[12 December 2001]

I first saw this very great film in the fall of 1965 when I started as a freshman at Cal. It had been playing at a local art house for ELEVEN months and, it being Berkeley, people were picketing to demand a new movie! I was lucky to have the chance to see it three times before it finally closed six weeks later. At the time, I thought it was UNDOUBTEDLY the greatest movie ever made, or ever likely to be.

Six years later, I had a second encounter with "Chushingura" when it was revived at an art house in San Francisco. A group of friends and I attended a showing where we were the only Caucasians in attendance -- EVERYONE ELSE in this 200+ seat cinema appeared to be Japanese or Japanese-American. It being the early '70s in the Bay Area, we had fully prepared ourselves to maximally enjoy the sheer visual beauties of this film. Sure enough, it was gorgeous, and we all muttered "wow" either singly and in chorus as we wallowed in the cinematographic feast.

But the stunning thing, to me, was the response of the Japanese/ Japanese-American audience. Utterly quiet throughout the movie, when the lights went up most of them had tears streaming down their cheeks --no vocal crying, mind you, just the overwhelming emotional response to a peak, deeply moving experience. I really envied them their cultural insight into the profoundly Japanese issues this masterpiece explores, something which as much as I admire "Chushingura" I must admit that as a Westerner I don't entirely comprehend.

The story is described elsewhere, so I'll focus first on the unparalleled BEAUTY of this movie. It is simply the most gorgeous thing ever committed to celluloid. Every single frame is like a perfect work of art, a series of superbly imagined Japanese images of nature and humanity which engulf your senses in endless, exquisite splendor. Next, "Chushingura" has stupendous pacing -- the shifts between tension and serenity, between lyricism and violence are expertly crafted, and the movie flows, sometimes majestically and sometimes in terrifying haste, to its incredibly exciting climax and compellingly tragic denouement. Finally, "Chushingura" explores deep themes of honor and loyalty, retribution and atonement, that may not resonate fully with a Western audience, but which nevertheless inspire awe and an enhanced curiosity about the culture and people that produced and are molded by them -- the culture that created this unforgettable cinematic masterwork.

Is "Chushingura" UNDOUBTEDLY the great movie ever? Maybe not, but it's definitely in the running with only a handful of other films for that exalted position.

Forbidden Planet (1956)

Could be the best...

[9 December 2001]

...sci-fi film ever. I was age 9 when it was released, and I begged, borrowed and stole to get more money to see it over and over and over...much the same as with some kids of the Star Wars generation. It is simply an elegant, thrilling and stunning production all around, with special effects that were mind-boggling in 1956 and are still damned impressive. The exciting, suspenseful script is intelligently adapted from Shakespeare and Walter Pidgeon is magisterial among a well-chosen cast. The lethal, unstoppable and invisible Id is the most terrifying monster ever. Most of all, Forbidden Planet radiates a majestic sense of magic made real that is most unforgettable. A Very Beautiful Movie!

Ninotchka (1939)

Perfection!

[9 December 2001]

My all-time favorite comedy! All right, I am a Garbo fan regardless of the role, and I happen to think that Melvyn Douglas was perfectly cast here. In fact, the entire cast excels, without exception, in one of Lubitsch's finest and most elegant films. Those who think that lines like "The show trials were a great success...there are now fewer, but better, Russians" are dated, or that making fun of totalitarianism is tasteless and politically incorrect need to lighten up. Garbo is not only very funny in this classic, she is inexpressibly lovely (as always). A must-see for any lover of beautifully crafted and entertaining film comedies.

Alexander Nevsky (1938)

Even secondary Eisenstein is worthwhile!

[9 December 2001]

"Alexander Nevsky" does not compare favorably to "Battleship Potemkin" or "October," but it's still a fascinating failure by an extraordinary genius. Eisenstein creates unforgettable visual images and occasionally achieves a strangely magical quality, but the greatness that might have been is scuttled by the heavy hand of Socialist Realism (the thoroughly selfless, noble and very handsome Nevsky; the joyful peasants and workers girding their loins to do battle for Mother Russia; the hideously evil Catholic fascist foes) and the turgid Soviet nationalism, which isn't especially compelling to a contemporary American like me. Still, the film has its moments of real grandeur, it probably did a good job of preparing The People for The Great Patriotic War, and the Prokofiev score is a concert hall classic in its own right.

Son of Kong (1933)

Enjoyable sequel to King Kong

[9 December 2001]

This is a slight but entertaining little movie with a charming young Kong and some nice 1930s atmospherics. My favorite performer is the very likeable and appealing Helen Mack, who plays a pathetically untalented traveling torch singer working some of the lowest dives in the South Seas -- a truly heartbreaking situation for any artist to find herself in!