Husbands and Wives
If Annie Hall was Woody Allen’s ode to falling in love, 15 years later Husbands and Wives is an examination of falling out of love. Where the look and style of Annie Hall was clean and precise, Husbands and Wives is franticly shot handheld with herky-jerky editing and an almost improvised vibe to the performances. If Annie Hall marked the beginning of Allen’s great run of introspective masterpieces and near masterpieces, Husbands and Wives is the end of the streak. It’s his last really important Woody Allen film and definitely his last strong acting performance before he fell into a cliché of himself or brought in other actors to substitute, aping his own famous mannerisms. Husbands and Wives doesn’t have as many laughs as some of his earlier work but the insights into relationships can be utterly nerve striking. Made during his dramatic break up with his then wife Mia Farrow, it may be the last time Allen really had something he wanted to say or was worth hearing.
Besides the French New Wave camera work and cutting, there’s an occasional narrator and interviews with the characters; what was meant to give the film a documentary feel actually seems now to predate reality TV. Gabe (Allen), a writer and college professor, is in a stale marriage to Judy (Farrow); they are shocked when, before a dinner date, their good friends Jack (Sidney Pollack) and Sally (Judy Davis) announce their separation. Subconsciously it may expose their inner doubts about their own marriage. Jack quickly gets a much younger girlfriend, an aerobics trainer named Sam (Lysette Anthony), while Sally’s dating life is less successful until Judy introduces her to her coworker, the sweetly hunky Michael (Liam Neeson). Meanwhile Gabe and Judy argue about having a child and his indifference towards her writing aspirations. Gabe befriends a young writing student, Rain (Julliette Lewis replacing Emily Lloyd who was fired after shooting begun), with whom he finds a creative (and potentially sexual) bond that he doesn’t have with Judy. From there the couple’s relationships get worse, better, and worse.
Woody Allen’s most controversial film was hated by fans upon its release for its narcissism and disregard towards his loyalists, but time has made Stardust Memories a much more entertaining film than it was considered in 1980. It blatantly references Federico Fellini’s 8 ½, in both plot (a respected filmmaker trying to clear his mind while dealing with fans and women) and its look (shot in beautiful black and white photography which, like Feliini, includes grotesque close-ups of all manner of odd looking people). Woody actually comes off as one of the beautiful people compared to the faces on the extras. Though Stardust Memories is funny, it’s also deeply depressing. Woody plays Sandy Bates, maybe his most confident character, and though always surrounded by admirers, he may also be his loneliest.
Like Allen himself, Sandy is a beloved maker of comedies who longs to get more philosophical and serious in his work. While attending a film retrospective weekend of his work, he is bombarded by sycophant fans; every couple of minutes someone seems to be asking for his autograph or his attention for their cause or script idea or just heaping praise on him. Time jumps back and forth from the beachfront festival to his New York apartment, while past and present relationships are examined. He’s haunted by memories of his ex, Dorrie (the icy Charlotte Rampling), an insecure and possibly insane actress, and his current French girlfriend, Isobel (Marie-Christine Barrault from Eric Rohmer’s My Night at Maud’s), who maybe he loves, but isn’t in love with. Meanwhile he strikes-up a friendship with an Annie Hall esque sincere violinist (Jessica Harper of Suspiria, who also appeared in Allen’s earlier Love And Death) but she’s already involved with someone. Sandy is just never satisfied with what he has, his fantasy world and film world collide to make him even more maladjusted.
"Like I've been telling my wife for years: 'Aside from sex,’ and she's very good at it, goddammit, 'I like you guys better.' I really do."
—So proclaims Harry, brazenly played by Ben Gazzara in Husbands. This bromantic refrain of love for his two friends characterizes the crass, yet affectionate honesty of John Cassavetes's 1970 comedy about life, death, and freedom.
“It’s hell gettin’ older, especially when you feel 21 inside.”
— A sobering reflection made by the aging Diane, brashly played by the vibrant, and still very alive at 86, Elaine Stritch, in Woody Allen’s 1987 drama, September.
The Adventures of Bob & Doug McKenzie: Strange Brew
Movies that originate as television sketches and skits usually lead to lame products: A Night at the Roxbury, The Ladies Man, Stuart Saves His Family (has anyone ever heard of or seen the Laugh-In spin-off The Maltese Bippy?), to name but a few of the forgettable titles. There have been a few good exceptions: The Blues Brothers and Wayne’s World, and even The Coneheads has its admirers. The most unusual adaptation of a skit and a very special movie in its own right is the Canadian flick The Adventures of Bob & Doug McKenzie: Strange Brew, which emanated from Saturday Night Live’s northern and usually better little cousin SCTV. The characters, Bob (Rick Moranis) and Doug McKenzie (Dave Thomas), became SCTV’s first breakout stars and even a minor cultural phenomenon with their catchphrase “take off, you hoser.” Like Wayne’s World years later, they were a couple hicks—brothers who hosted a public access cable show called “Great White North” and the jokes usually centered on Canadian stereotypes and their love of beer and hockey. Though their minor-hit song “Take Off” (with Geddy Lee of Rush) might have caused a bigger ripple then their movie did, over the years Strange Brew has found more fans and can now be appreciated for what it is, an incredibly goofy but lovable laugh-out-loud comedy.
Adding elements of science-fiction and thriller, while referencing everything from Omega Man to Hamlet to Star Wars to the early Canadian gross-out flicks of David Cronenberg, Strange Brew opens with a movie within a movie within a movie. Surrounded by cases of Canadian beer, Bob and Doug host their TV show “Great White North” on the big screen. They run a projector of their homemade “Max Maxy” post-apocalypse flick, which leads to pandemonium in the actual theater where now Bob and Doug sit watching. They refund a distraught father his admission money (his crying kids saved all year to go see the movie), and this gets the real plot rolling—that it was their father’s beer money (the father’s voice is supplied with an amazing voice-cameo by animation legend Mel Blanc).
My Dinner with Andre
French director Louis Malle’s incredibly diverse career ranged from the exciting rule-bending era of the French New Wave to his documentary period, his work during the cinema revolution of the ‘70s, and finally to his American phase. Perhaps no film was more ground breaking then his astonishingly simple, yet hugely entertaining My Dinner with Andre—what is essentially a couple hours of two men who hadn’t seen each other in some time having a fascinating discussion over dinner.
Andre Gregory and Wallace Shawn, both known from the New York cultural and theater scene, play “Andre Gregory” and “Wallace Shawn,” which is to say they play themselves or at least variations on themselves. In real life Gregory had made a name for himself as an experimental theater director, traveling the world in search of groovy artistic expression. (He was a sometimes actor post-My Dinner with Andre, most memorably as John the Baptist in The Last Temptation of Christ). Shawn, the son of legendary long-time New Yorker editor William Shawn (which gave him lifelong NY high-brow street-cred) had some success as an off-off Broadway playwright, but ever since Woody Allen cast him as Diane Keaton’s ex-husband in Manhattan he has worked steadily as a character actor. The two started to record their own conversations and then got director Malle involved to help shape it into a script.
During one of the ugliest periods in American political history, as the Cold War hit hysteria, a drunk congressman named Joseph McCarthy managed to destroys thousands of American lives and careers with his House Un-American Activities Committee. HUAC would accuse people of being Communists (many of the accused at one time may have belonged to the then totally legal Communist Party or donated to causes that were Russian-related—this was years earlier when Russia was our ally against Germany). To clear your name you needed to name names and praise HUAC. Most famously many in Hollywood (almost always Jewish folks) were called to testify; some played ball with McCarthy and were considered “friendly witnesses” (Sterling Hayden, Elia Kazan) while many others refused to testify and either went to jail or were blacklisted from working.
Screenwriter Walter Bernstein was one of those blacklisted, but by the end of the ‘50s many gutsy producers began to break the blacklist by hiring the recently unemployable. Bernstein made a comeback writing the script for Fail-Safe and eventually wrote The Front, a semiautobiographical memoir of the period. Besides Bernstein the film is full of blacklisted talent on both sides of the camera, including actor Zero Mostel and Director Martin Ritt (Hud, Norma Rae).
Life During Wartime
If you've yet to see Todd Solondz's film Happiness and you plan on seeing it, I suggest you watch this film afterwards because it is a sequel of sorts and would therefore spoil much of the movie's plot. As with Palindromes and other movies, Solondz has revived characters from a previous film with an entirely different cast and a different agenda. In Life During Wartime we find the Jordan family in an aged distress. Set in Florida, where the bulk of the family has now migrated after their experiences with divorce and heartache, the movie follows their path of forgiveness as they try to forget and/or interpret what went wrong in their lives.
In Happiness, the film ended with the entire family sitting at a table. The three sisters, Joy, Helen and Trish, were more or less sulking with their parents who were on the brink of separation. Joy was a humanitarian who wanted to make a difference, Helen a disillusioned housewife, and Trish a vain author. Helen and Trish played matchmaker to Joy, the black sheep, and Trish offered to set her up with her neighbor Allen, who enjoyed calling women from a phone book to sexually harass them. In Life During Wartime, Joy (Shirley Henderson) works with ex-cons instead of refugees and is now married to Allen, who confesses that he still makes lewd phone calls to women. Feeling betrayed, she goes to Florida to visit her sister Helen (Ally Sheedy) in the hopes that she can help her put her life in order.
The Blues Brothers
There was a time in 1978 when John Belushi had the number one movie in theaters— National Lampoon’s Animal House. He also starred on the massively popular Saturday Night Live and his band The Blues Brothers, a group he co-fronted along with SNL co-star Dan Aykroyd, had the number one album in the country. The success of their album Briefcase Full of Blues led to a film adaptation, The Blues Brothers—the first and still the best of many films to originate from SNL skits. It’s a loud musical-action-comedy film that works in all three genres while boasting some great car chases, stellar music, and staying very funny throughout.
Fresh from a stint in prison Jake (Belushi) reunites with his brother Elwood (Aykroyd). Spurred on by an old friend, Curtis (Cab Calloway) they visit their childhood orphanage and learn that it’s on the verge of being shut down for owing back taxes. After a vision “from God” in church they decide to reform their old blues band and raise money with a large charity concert. Most of their bandmates have contempt for them and need convincing to reunite. Along the way they tend to wreak havoc and leave large swaths of destruction wherever they go which leads the police after them. They also create foes with a country/western band, The Good Ol' Boys (led by Charles Napier), when The Blues Brothers steal their bar gig. They disrupt a Nazi rally and manage to put a carload of uniformed Nazis on their trail (led by the hilarious Henry Gibson of ...
On first appearance what could be just another high school comedy is actually much, much more. From Alexander Payne and Jim Taylor, the directing and writing team later responsible for About Schmidt and Sideways, Election is a wonderfully smart political satire as well as a rich character study of suburban Omaha, full of truths about both teen and adult life. Reese Witherspoon, in her best performance and perhaps best role, brilliantly plays Tracy Flick, an ambitious high school overachiever, so driven she mostly comes off as unlikable and vindictive, but her back story proves to be much more complicated.
Jim McAllister (Matthew Broderick) seems perfectly content in his life; his marriage may be stale, but he finds an almost smug satisfaction in being a beloved teacher. Tracy is running unopposed for student body president in the upcoming school election and the inevitable outcome starts to grate on Jim, not just because he finds her generally annoying as a student but also because he knows a secret about her. His one time best teaching bud, Dave Novotny (Mark Harelik), had an affair with Tracy. After some manipulation she told her mother, which inevitably led to Dave’s firing and his wife, Linda (Delaney Driscoll), leaving him. Jim and his wife Diane (Molly Hagan) are trying to get pregnant, but with Dave now out of the picture, Jim has developed an attraction for Linda and tries to have an affair with her.Continue Reading