At age 22, Britain's "most violent criminal" Charles Bronson (nÃ© Michael Peterson, who initially took the name for his short-lived boxing career and then had it legally changed; here played by Tom Hardy) began serving a 7-year sentence for armed robbery. The year was 1974, less than 2 years after Stanley Kubrick pulled his movie Clockwork Orange from the theaters due to death threats. With the exception of just over 4 months, Bronson has spent the last 35 years as a ward of the state, all but 4 of them in solitary confinement. This extended sentence has to do with his seeming love of violence for violence's sake, something like the performance art of an evil Andy Kaufman. As such, he's a child of Alex de Large, or an Agent Orange -- that is, one whose real life lends itself to Kubrick's satire. Or, at least, that's how Bronson's director Refn takes it (some of Bronson's victims tend to approach his nature a little less abstractly). Therefore, Refn gives us Clockwork Orange's malevolent juxtapositions of barbarity and high-toned culture, gravitas and cornball pop tunes, with a comic book color palette and told through the wide-angled, symmetrical perspective of a demented narrator in clown makeup. Not exactly original, but like Cape Fear was to Hitchcock, livelier than most other films that don't steal from only one source.Continue Reading
Cradle Will Rock
Cradle Will Rock belongs to that class of movies that don’t particularly offend anyone or bomb big enough to become a notorious flop; nor was it greeted with a ton of enthusiasm. Considering the talent involved with the film—Tim Robbins, Bill Murray, John and Joan Cusack, and Susan Sarandon, to name but a few—the mild applause the film seemed to generate upon its release was kind of like damning with faint praise. I never understood this because I find Cradle Will Rock to be a whole lot of fun, while at the same time serving as a pointed critique of the political apathy prevalent in art today.
The film tells the story of one of the most mythologized theatrical events of the 20th century. No surprise that Orson Welles was directly involved then. We’re in New York in 1937 and the city seems to be the epicenter of a massive upheaval in society at large. There is labor unrest, growing unease about global fascism, and a gnawing sense that capitalism has failed the common interests of the average citizen. (Hey, maybe the film is due for a critical re-appreciation after all…)Continue Reading
Animal Factory is the story of a young man (Furlong) who gets prosecuted for drug dealing. He is sent to a maximum-security prison, putting his life and soul at stake.
Edward Bunker and John Steppling’s screenplay is raw to the bone writing—not trying to spice up the dialogue, rather providing a very realistic cadence to the way these prisoners speak and interact. The screenplay is based on Bunker’s novel, which was inspired by his own stints in the penitentiary. Modern audiences mostly know the author as “Mr. Blue” in Quentin Tarantino’s debut Reservoir Dogs.Continue Reading
The tightly plotted screenplay by Michael Hirst (Uncovered) is one of the most dynamic period dramas I have come across. It covers historical truth, while still maintaining a high level of dramatic scenarios and relationships.Continue Reading
Panic in Needle Park
This is a film that speaks without fringe: no fancy lighting, no overblown plot, no music cues, not even a satisfying conclusion. It is a dark and human depiction of real characters, in a very real situation.
Panic in Needle Park is a story of two people who fall in love in the triangular intersection of Broadway and 72nd St. in New York City’s “Needle Park” – also known today as Sherman Square. Joan Didion and John Gregory Dunne adapted the screenplay from James Mill’s novel Panic in Needle Park. In Al Pacino’s second film appearance, he portrays a small-time hustler and drug addict named Bobby who becomes the solace and lover of homeless girl Helen, played by Kitty Winn. The two young lovers become involved in the downward spiral of heroin and betrayal. Heroin invades their passion for each other, yet it becomes their drive to stay together.Continue Reading
Requiem for a Dream
Based on the novel by American writer Hubert Shelby Jr. (Last Exit to Brooklyn), Requiem is about the struggle of vice in the existence of four people. Aronofsky writes a tight and interesting screen adaptation with a strange timelessness, keeping much of the slang used decades before. Look for a great cameo by Shelby as a sadistic white-trash prison guard.Continue Reading
Director Aronofsky (Requiem for a Dream, The Fountain) returns to his roots by making a film with a bare-bones look reminiscent of his debut Pi. Aronofsky makes a far less polished film than its predecessors, as far as aesthetic design, focusing on performance above all else. The Wrestler is less plot driven than it is about the nature of desires, regret and one “broken down piece of meat”'s last shot at athletic glory.
Mickey Rourke (Barfly, Angel Heart) headlines the film as the wrestler in question, Randy “The Ram” Robinson. Although he did some supporting work in such films as Tony Scott’s Domino and Robert Rodriguez’s Sin City, it is as the title character of this film that Rourke put himself back on the Hollywood map. As a man fighting against time, desperate for one last shot at life in the spotlight before his body fails him, Rourke plays Robinson with unflinching honesty. It is one of those performances when actor and character become so integrally linked that it feels as if you're watching true life unfold. It is a brave and unabashed performance. One of the year’s finest.Continue Reading
The Ice Storm
Set over 1973’s Thanksgiving weekend, The Ice Storm is the tale of a group of suburban families in Connecticut dealing with ever shifting social mores and sexual desires.
Based on the acclaimed novel by Rick Moody, James Shamus’ screenplay adaptation is a dark but truthful examination of the American family. It is well structured with highly dimensional characters, never bowing down to the oversimplification of human behavior. Rather, he gives them each their own voice and distinctive point of view.Continue Reading
Network has cemented its place as one of the finest and most enduring examples of American cinema. A satirical look into the media industry and its effect on the human condition, a film that unflinchingly makes points and claims that, in 1976, may have seemed like comedic exaggeration, yet today are accepted norms. Prophetic and eloquent, a film whose undying relevance seems to resonate with growing intensity as time moves on...
"This story is about Howard Beale, who was the network news anchorman on UBS-TV." This is the narrated introduction to the film. Beale, played by Peter Finch, has recently learned of his imminent firing from the station and announces his plan to commit suicide in a future broadcast, live on television. This creates a huge uproar at the corporate level and, soon after Frank Hackett, the Executive Senior Vice President of the network, appears (played by Robert Duvall) to fire Beale on the spot.Continue Reading
The Arrangement (1969)
Thanks to my co-worker Jackie for throwing this one my way after telling her how much I enjoy Richard Lester’s Petulia.
Here’s another success from jack-of-all-trades Elia Kazan. This time around he’s mining the tumult of the white-collar male psyche amidst 1960s america. This was a time when veteran and rookie American filmmakers were absorbing the groundbreaking editing and storytelling techniques of European behemoths like Bertolucci, Bunuel & Bergman, and regurgitating them into something wholly new. Something prime Americana. This particular example is a great meeting place for leaders of the old guard (Kazan, Douglas & Kerr) rubbing elbows with a dash of the then-newer crop (Dunaway). This vehicle ends up working as a social mixer for the classic styles of Kazan’s past and the fresh ideas coming in from across the Atlantic. The resulting product nests roughly between the realms of a classic melodrama and a surrealist psychological satire.Continue Reading