The Ruling Class
Lady Claire Gurney: "How do you know you're God? Jack: "Simple. When I pray to Him, I find I am talking to myself." -- The Ruling Class It's hard to imagine Peter O'Toole still acting in today's cinema, mainly because he seems too great to be cast as an extra or even take up a voice role, as he did in the Disney/Pixar movie, Ratatouille. It would have been nice to see him still receiving leading rolls like his '60/'70s acting peers, such as Michael Caine, but the truth is, his essence is perhaps a bit grandiose. It worked wonders in movies like Becket, Laurence of Arabia, and Lord Jim, and it was given the most space and nourishment in The Ruling Class. In fact, I will firmly state that there could have been no one else, in the history of acting, who could pull off a role of such hysterics, and yet keep it level with the audiences' many emotions. Who else could pull off a character who is convinced they are Christ and Jack the Ripper, spew off-beat stutters in random order, and chirp like a bird in a single scene? This review might be giving away too much of the plot, but nothing could possibly prepare or give anyone a picture of how awesome this movie is. The movie takes place at the Gurney Estate in England, with the 13th Earl, Ralph, leading the action. He appears to be a leader of some importance in his society, but after a mass banquet you learn that he's not so right in the head. While dressed in a ballerina tutu and a colonial uniform, we see his nighttime ritual unfold. The trusted family butler (Arthur Lowe) enters his posh bedroom and displays a series of nooses, one of which he chooses every night to partake in a very bizarre game of mock suicide, done for the benefit of erotic asphyxiation. While attempting to hang himself for fun and safely return to a ladder, he accidentally knocks it down...Continue Reading
After his ultra low-budget, indie caper comedy Bottle Rocket, director Wes Anderson (along with co-writer Owen Wilson) peaked with Rushmore, developing a formula and a brand that he has continued to hammer into the ground, with less and less success. But with Rushmore, the story of an eccentric high school underachiever and his relationship to the people around him, Anderson found the right level of quirk without going over the annoyance line and in the process made one of the best comedies of the '90s, a truly unique and special film.
In the teenage mind of Max Fischer (Jason Schwartzman), he’s a scholastic genius, admired by his classmates at his beloved upscale private school, The Rushmore Academy. But in truth he’s a below average student and not very liked by his peers. Max is a different kind of outcast than we usually find in teenage nerds. Instead of rebelling against the school, his goal is to fit in, but his grandiose ideas and belief in himself makes him stand out. His lower income also keeps him at a distance from his peers. Max’s gentle father (Seymour Cassel) is a low-key barber, but Max claims his old man is a brain surgeon. Also at odds with Max is the school’s headmaster (Brian Cox). Max’s enthusiasm seems to be a constant source of stress for him, including Max’s effort to keep Latin in the school’s curriculum, his ambitious school theater production of Serpico, and his efforts to build an on-campus aquarium in a bid to impress a lovely widowed teacher, Rosemary Cross (Olivia Williams).Continue Reading
Though it appears to be the love child of Ronald McDonald and William Shakespeare, Scotland, PA is only the most innovative adaptation of Macbeth, which was forgotten about after it went to Sundance. Its satire, while crude and greasy, just like the worst fast food server, is so un-artsy and plain that it can honestly be called upon frequently when you have a craving for some simple, yet refreshing comedy. To add to its charm is an already off-beat cast that gives, perhaps, their funniest and most quirky performances. I must commend Maura Tierney for her role as the modern Lady Macbeth, which she played with excellent style, and her co-star, James LeGros, for his depiction of Macbeth. For the sake of being interesting, their last name is McBeth, and everyone calls her Pat and him Mac. Instead of being regal characters during the Renaissance, they are two ordinary folks in the '70s who work at Duncan's, a former donut shop owned by Norm Duncan. Notice the catchy play on an actual food chain. Duncan is trying to branch out and get new ideas for fast food, and under his employ are a ton of outrageous characters, including his sons, and many whom you'll recognize. Like most people in food service, the McBeths are extremely restless, causing the dynamic of their marriage to be bittersweet. Their sex life is at its peak (the two go at it like rabbits), but the romance turns sour when Pat constantly nags Mac about his inability to break away from Duncan, or at the very least, stop blurting out good ideas and letting him take the credit for them. While Mac is wandering around an empty carnival site, he is approached by two intoxicated hippies (the Greek chorus), who lead him to a fortune teller (the prophet, played by Amy Smart). She shakes her toy 8-ball and mentions a concept that has never been invented: drive-tru. Dismissing the entire ordeal, Mac returns to work the next day and hears of an employee being fired, which could mean a promotion for...Continue Reading
National Lampoon’s Animal House
The impact that National Lampoon Magazine had on American comedy during the 1970s was enormous, eventually spawning the massively ripped-off comedy movie National Lampoon's Animal House (as well as the Vacation series and some crappy forgettable flicks). You could say that the long running sketch comedy show Saturday Night Live symbolically evolved from National Lampoon (as well as from the Second City comedy clubs in Chicago and Toronto). Following the success of SNL's first breakout star, Chevy Chase, John Belushi would earn a cult following from his performance in Animal House that would last past his untimely death four years later from a drug overdose, leading the way for SNL alumni to dominate comedy for decades.Animal House follows two freshmen, Pinto (Tom Hulce) and Kent (Stephen Furst), "a wimp and a blimp," at Faber College in 1962. After being turned away from the elite fraternities they end up joining "the worst house on campus," Delta House. These campus outlaws are in constant trouble with Dean Wormer (brilliantly played by the snaky John Vernon of Point Blank), as they are placed on “double secret probation.” Eschewing academics or athletics, Delta members are either out to get wasted or laid, lead by would-be playboy, Otter (Tim Matheson), and super slob, Bluto (Belushi). There are a number of memorable scenes including Pinto and fellow Delta, Boon (Peter Riegert), along with his girlfriend, Katy (Karen Allen), being introduced to pot by a professor (Donald Sutherland); Belushi's stroll through the cafeteria line hoarding food and then his zit imitation; the guys' trip to a Rhythm N Blues club where Otis Day and the Knights perform (a scene ripped off in Weird Science). After the fraternity is expelled their revenge on the sc...Continue Reading
With Modern Romance, writer/director/star Albert Brooks was dubbed a West Coast Woody Allen and, like Allen, Brooks has one of those personalities that can alienate an audience. People usually love him or find him way too annoying to watch. In Modern Romance Brooks takes his neurotic persona to new daring heights of annoyance playing Robert Cole, a Hollywood film editor. When the film opens he's breaking up with his girlfriend, Mary (Kathryn Harrold), again, which seems to be a hobby for him. But like an addict for relationships it sends him into a torturous obsession over her, again. He tries to concentrate on his work and even tries dating others, but he can't, his obsession and jealousy get worse and worse. And with it Brooks turns the romantic comedy on its head, making one of the funniest films of the '80s.
Before moving into feature films Brooks was a cutting edge stand-up comedian. His style was almost a spoof of stand-up comedy and he was one of Johnny Carson's favorites, cutting his teeth on The Tonight Show. He made some brilliant short films the first season of Saturday Night Live (very unheralded in the show's history, they seem to never be acknowledged in the show's many retrospectives). Brooks has directed seven features since, the first four of which are gems. Real Life back in '79 foresaw the coming of reality TV early. It brilliantly teamed him with another underrated, acquired taste, Charles Grodin. Then Modern Romance, which could be considered his Annie Hall, took him in a new more sorta-mature direction. His next film, Lost In America, was an angst-epic and then Defending Your Life found Brooks romancing Meryl Streep in the afterlife. His next two films, The Muse and Mother, were forgettable at best and his last go as a director, Looking For Comedy In The Muslim World, was abysmal. As an actor outside his own films he's had an interesting career, with roles ranging from Taxi Driver to Out Of Sight, he was the voice of Nemo in Finding Nemo, and got an Oscar nomination for his hilarious turn in Broadcast News.Continue Reading
Fast Times At Ridgemont High
Fast Times At Ridgemont High is The Godfather or the Gone With The Wind of '80s teenage sex comedies. It's bigger and better than its lesser peers including My Tutor, The Last American Virgin, Porky's, Losing It, and a list that goes on and on. Inspired by the success of the wonderful National Lampoon's Animal House as well as the ensemble attitude of American Graffiti, based on a book by Cameron Crowe, with an exceptional cast of then unknowns (including two of their generation's best, Jennifer Jason Leigh and Sean Penn), Fast Times At Ridgemont High is an epic study of Southern California teen suburban culture of the early 1980s.
The film really is more than just a teen sex comedy (which doesn't usually mean that sex is actually happening - it is generally more just being wished for - as well as preening and peeking for potential nudity). Besides being very funny there is some dramatic weight to the film and to many of the characters, mostly concerning an abortion. Other than a few teachers at Ridgemont High not many adults (parents) factor into the story (not including the 26-year old stereo salesman who seduces a teenager). This is a teen fantasy of laughs and sex all in a sunny, year-round location. It's the lighter side of the "burning the school down" fantasy of Over The Edge.Continue Reading
Everything You Always Wanted To Know About Sex, But Were Afraid To Ask
Like most of Woody Allen's early comedies Everything You Always Wanted To Know About Sex, But Were Afraid To Ask is the definition of "hit or miss." This is a joke a minute film. Some are wonderfully funny but, like Airplane some years later, when you throw a ton of jokes at the wall not all of them are going to stick. Enough do to make this well worth the experience and make it an above average comedy. Released during the sexual liberation and adult sexual reeducation of the early '70s, this is kinda/sorta based on David Reuben's hugely popular manual about human sexuality of the same name. Allen uses the chapter heads to basically create seven short films, spoofing the pseudo seriousness of the subject matter. Some work better than others, but oh boy, the ones that do work are home runs. Here's the rundown starting with the least successful of the seven and moving to the better ones.
Why Do Some Women Have Problems Reaching Orgasms?Continue Reading
Love And Death
I’m not enough of an expert in Russian literature to give Woody Allen’s Love And Death it’s full due, intellectually. I do know there's some Crime And Punishment, some Brothers Karamazov, some War And Peace, and some Chekhov being spoofed. Visually there are references to Allen’s Swedish idol, Ingmar Bergman, with The Seventh Seal and Persona, and as well as some Charlie Chaplin. Allen also borrows healthily from his wisecracking forbearers, The Marx Brothers and Bob Hope.If Woody Allen’s directing career can be broken into three sections - his early slapstick comedies, his middle important films, and his later mostly forgettable busts that he’s been marred in for almost the last 20 years - then Love And Death marks the end of that first period. It would be his final "straight comedy" before making his evolutionary leap with his next film, the masterpiece Annie Hall. Love And Death ended his six-year period of comic experimentation following the hit and miss joke epics Take The Money And Run, Bananas, Everything You Always Wanted To Know About Sex, and Sleeper. Hard to believe at one time a film critic argued who was the more important comic filmmaker: Allen or Mel Brooks (after making the classics Blazing Saddles and Young Frankenstein)? Allen went on to do Annie Hall and Manhattan and about a ten more relevant films while Brooks did Dracula: Dead And Loving It. Woody was always growing, while Brooks peaked early. That is not to say Love And Death is only important as a growth record. It’s also a great comedy on its own merits. It’s beautifully shot in Hungary by cinematographer Ghislain Cloquet (Au hasard Balthazar, Tess, etc.). Also it’s been cleverly scored with the music of 20th century Russian composer Sergei Prokofiev (later The Ren & Stimpy Show would use his music as well).
Like Allen’s Latin American revolution comedy, Bananas, a lot of the fun is putting Woody in an absurd situation and letting him be Bob Hope. During the Napoleonic era, Allen, sporting his trademark horn rimmed black glasses, plays Boris Grushenko, a Russian coward ("Yes, but I'm a militant coward"). As his two virile brothers enlist in the military, Boris is too busy fretting about life and trying to get laid. The object of Boris's lust is his independent cousin, Sonja (Diane Keaton), however she is engaged to the herring merchant. Eventually Boris enlists in the army, becomes a hero, and then he and Sonja set out to assassinate Napoleon (played wonderfully by James Tolkan).Continue Reading
A lot of films about drugs and drug users take an exploitive yet ultimately moralistic tone about their contentious subject matter. Actors are given scenery to chew as either addicts or dealers. Junkies waste away tragically, but elegantly, and the dealers are suave thugs making the most of their Faustian bargain of a career. So often we are meant to envy the way the characters give a middle finger to societal rules and yet, when they ultimately reach their downfall, we are encouraged to feel morally superior. Call it a cultural byproduct of our country's draconian drug laws where all drugs are equally bad. (Except for alcohol which never causes any problems whatsoever.)
The thing I love about Go is the refreshing lack of judgment on the characters. It’s a movie about a random assortment of relatively amoral young people in L.A. in one insane 24-hour period. They work dead end jobs, they go to raves, and they take ecstasy. They’re basically good kids, just young and broke and out for a good time. They get into trouble, but not the kind of finger-wagging clichÃ©d trouble that a bad screenwriter would normally concoct for these characters. It's more of the absurdist kind of trouble that Quentin Tarantino used in various plotlines of Pulp Fiction.Continue Reading
I’ve been on a Woody Allen kick of late and I’m not sure what prompted it. In the twilight of his career he remains a polarizing figure mostly reviled for personal indiscretions or ignored for his supposed cultural irrelevancy. He doesn’t always make it easy to defend his work. The things people used to find amusing about his movies now just elicit a kind of widespread yawning contempt—the gross age difference between him and his latest ingÃ©nue, the aloof quality of the writing, and the way his characters don’t seem to bear even the slightest relation to actual people in New York City or anywhere else. His last few international productions have been, by all accounts, hit-or-miss and the early fans who adopted Annie Hall and Manhattan as the films of their generation have deserted him. I don’t necessarily disagree that his films aren’t what they used to be, but I think his good films are still some of the best American films ever made. The period of his work I generally romanticize is the mid-1980s period and the film of his that I like best is, in some ways, the least representative of his work, Radio Days. It’s light, unabashedly sentimental, and probably the least cynical movie he ever made.
Radio Days is more-or-less a series of vignettes related to Allen’s childhood that revolve around the radio and the central role it played in everyone’s life. The scenes are breezy and comical with a wry knowing melancholy hovering over them because this is, after all, a lost world that Allen is eulogizing. The film shows Allen’s childhood in a nostalgic light. He lives in Brooklyn in a cramped house where various assorted aunts, uncles, and grandparents lived too. Their banter is typically neurotic for an Allen film but there’s a familial ease and a gentleness to it. It’s very funny but it’s not abrasive. Seth Green plays Allen as a kid who is obsessed with the Masked Avenger, a radio show about a super hero of sorts whom Green’s character imagines as a dashing crime fighter but in actuality is played by Wallace Shawn, the impish character actor. A lot of the fun to be had from the stories Allen tells about the golden age of radio is how the actuality of who the performers are bears little resemblance to the identities they assume on the radio for a rapt audience living vicariously through their glamorous exploits. None is funnier than Mia Farrow, a painfully ditzy supper club cigarette girl who is perpetually in the wrong place at the wrong time but who eventually gets (mostly) rid of her Brooklyn squawk and becomes the host of a sophisticated Hollywood gossip radio program.Continue Reading