City Of God
Carrying the torch for Brazilian cinema and then running ten miles with it, lugging it into the new century, Fernando Meirelles and Katia Lund’s epic masterpiece, City Of God, still stands as one of the best films of the 21st century so far. Picking up the torch from Hector Babenco’s 1981 film, Pixote, another film about children in Brazil’s crime-ridden ghettos, City Of God deserves ranking with the best of epic crime cinema. A shallow, but apt comparison may be a kiddie Godfellas with the razzmatazz style of Boogie Nights.
Based on a novel by Paulo Lins, spanning from the '60s through the early '80s, City Of God tells the story of the drug wars in the urban sprawl around Rio de Janeiro. Apparently based on the real life story of a Brazilian photographer named Wilson Rodriguez - here renamed Rocket (and acted well by Alexandre Rodrigues) - the story moves back and forth in time as we follow Rocket and the different young people he gets involved with over the years. Growing up in a more rural slum, Rocket’s brother Goose and his little crime posse get involved with a botched motel robbery that turns into a murder massacre when an 11-year old psycho named Li’l Dice gets his hand on a gun. Trying to escape with his girlfriend, Goose’s partner Shaggy is killed by the "shoot first" cops, while Goose is killed by Li’l Dice.Continue Reading
Based on Nicholas Pileggi’s real life true crime book on minor criminal Henry Hill, Martin Scorsese’s Goodfellas marks the last great film for the director and for most of the high caliber talent on both sides of the camera. Spanning three decades, this epic is the ultimate and maybe final word on the world of organized crime. These guys don’t seem to be as politically connected as the Corleones of The Godfather or even the Jersey gangsters of The Sopranos (which carries many crossover cast members), they are a petty crime crew of thieves and are willing to use extreme violence to protect their interests and egos. However as the culture of the '70s takes root in their old-world existence, though warned by their highest authority, Pauley (Paul Sorvino), not to get involved with drugs, they eventually lead to Henry’s downfall. It’s an amazing journey made more amazing by the brilliant filmmaking style of director Scorsese working at the peak of his creative powers.
Like a life in crime itself the film sucks you in, showing you the highlights then becoming increasingly dangerous, and eventually you're searching for a way out. As far back as Henry can remember he wanted to be a gangster. The young Irish-Italian kid gets a job working for the mob at their cabstand. They take him under their wing, teaching him the ways of a criminal, as well as the philosophy (most importantly “never rat on your friends”). With an unhappy home life, the gangsters make Henry feel a part of something bigger than him. Eventually he grows up to be played by the actor, Ray Liotta. Coming off of strong good guy and bad guy performances in Field Of Dreams and Something Wild, Liotta proves to be ingenious casting by Scorsese. Though handsome and charming in a rogue way he’s an offbeat leading man who brings a lot of danger to every role (peaking as the aging, corrupt cop in Narc). As an adult Henry becomes a part of the crew led by Jimmy The Gent (Robert De Niro) and his psychotic nephew, Tommy (Joe Pesci, brilliant in an Oscar winning performance). The film follows their ever-escalating crime schemes peaking with a famous Air France robbery.Continue Reading
As a follow-up to director Joe Carnahan’s crazy action indie Blood, Guts, Bullets and Octane, he chose to write and direct one of the grittiest, low down cop flicks in recent years, if not ever, Narc. It’s the story of two cops (Ray Liotta and Jason Patric) investigating the death of one of their colleagues. The investigation leads them deep into the heart of Detroit’s brutal drug trade (though most of the film was actually shot in Toronto). Each has their own heavy cop baggage and demons that they must tote with them through the brutal streets.
Over the years Carnahan has been linked to a number of high profile projects that have either vanished or come to fruition with other directors at the helm (ranging from Mission Impossible III to adaptations of Killing Pablo and James Ellroy’s White Jazz with George Clooney). In recent years he made the overly hyper action comedy Smokin’ Aces and the decent but forgettable restaging of TV’s The A-Team. Narc has been the peak of Carnahan’s career; it’s the film that is still getting him attached to so many high profile projects. It showed so much potential; time will tell if he is ever able to match it in quality. He was able to bring an arresting visual style, emphasizing the cool blue streets of Detroit in winter (similar to the hues Steven Soderbergh shot Detroit with in Out of Sight). The city is made to feel frigid, not just in the air, but also in the hearts of the players on both sides of the law.Continue Reading
No Direction Home: Bob Dylan
Obviously Martin Scorsese is one of the most accomplished filmmakers of his generation, now into his sixth decade with a fairly diverse body of work. He has his great masterpiece, Goodfellas, and his next tier of classics: Mean Streets, Raging Bull, Taxi Driver and maybe even The King of Comedy. All five of those are with his methody, then alter-ego, Robert De Niro; though not as extraordinary but still of note is his later Leonardo DiCaprio period. Interestingly, between all these films Scorsese has also unleashed many notable documentaries. After being one of many editors on Woodstock, he started with shorts, including a great bio/interview of a druggy hustler (who played the gun dealer in Taxi Driver) called American Boy: A Profile of Steven Prince. But since his feature-length docs have mostly been made for television (with subjects ranging from film history to the New York Review of Books to Elia Kazan), his best have been about music. From his first feature doc, the concert film The Last Waltz, through the mini-series The Blues to his more recent outstanding George Harrison: Living in the Material World, the guy proves he loves and understands the world of musicians. It’s his respect for the little details and the big picture that make No Direction Home: Bob Dylan his true documentary masterpiece, and maybe secretly as great as anything he has directed (or at least right under Goodfellas).
Made for PBS’ American Masters series (the source of so many brilliant documentaries of the last thirty years), the film clocks in at over 200 minutes and was shown in two parts. Instead of his famous, show-offy visual flair, more than anything else he has ever done, No Direction Home shows off his storytelling skills. All of the footage was shot before he came on board, so in some ways his role as director was really that of lead editor (though the actual editor job is credited to David Tedeschi, who later was promoted to co-director with Scorsese on his NY Review of Books doc, The 50 Year Argument). Besides the incredible plethora of material (film footage and music, much not even of Dylan), the great choice Scorsese made is that instead of an entire overview of Bob Dylan’s life, he kept it small. After a quick run-through of Dylan’s childhood in Minnesota, the film ONLY really details his New York years from 1961 when he first hit Greenwich Village, until his famous motorcycle accident in ’66 (which let to a brief retirement and then a career reboot). But what an amazing five years that was. The film is also about the other music that was happening at the time that influenced Dylan (and which he would go on to influence) and really works as a history of folk music as well.Continue Reading