Chris & Don: a love story
The first thing that I loved about Chris & Don: a love story was the DVD sleeve—a black and white photo of two men, the titular love birds, with a clean white backdrop and the title spelled out in red, yellow, and blue lettering in a font that could be described as optimistic looking. It has the effervescent simplicity of a Hockney painting. Even the fact that “a love story” is left lowercase gives clues to the sweet and simple nature of the love story at hand. The film profiles two celebrated men, novelist Christopher Isherwood and artist Don Bachardi, and their relationship together as lovers that constituted as much a marriage as anyone’s. During a time when the idea of a homosexual was someone who was tragic, dysfunctional, and, above all, essentially alone, they lived openly and unapologetically together. And as filmmaker John Boorman points out, they were the only Hollywood couple he knew who actually stayed together.
Theirs is a California story, two men who met on a Santa Monica beach in the 1950s when Don was a teenager from Glendale and Chris was a novelist with a flourishing career. People, even some of their friends, were scandalized by the age difference. Chris was a man of the world. Born in 1904, he had a privileged upbringing in England and was educated at Cambridge before eventually absconding to Berlin to shake off his family’s stifling expectations and to experience the sexual freedoms famously associated with Germany under the Weimar Republic. He later distilled his experiences into a short story collection that became the inspiration for the play and later film Cabaret. Don was a boy who loved movies and movie stars and was in the early days of his first sexual experiences when he met Chris. They couldn’t have been more different, but they were drawn to each other almost immediately.Continue Reading
Deliverance is a wholly original American film, directed by a Brit, an action survival thriller in the Straw Dogs mode. Ahead of its time in ’72 it precluded a number of genres that would emerge over the decades from “hillbillyxploitation” of the '70s to “torture porn” of more recent years. Films from Southern Comfort to The Descent have been explained and pitched as “Deliverance with…” No film since has been able to combine the stunning filmmaking and the shock, but not just for shock's sake. This isn’t an exploitation film, beneath the horror there is great and powerful purpose, when man takes on wild nature, he also finds out what is buried in his own nature.
Instead of an easy weekend of golfing, four Atlanta white collar guys get out of their depth with a canoe trip on a river that is slowly being damned up deep in the Appalachian mountains. The trio are linked by the family man Ed (Jon Voight); he is joined by two cronies completely out of their comfort zone, Bobby (Ned Beatty in his film debut) and Drew (Ronny Cox, Richard “Dick” Jones of Robocop). Luckily joining them in the adventures is he-man Lewis (Burt Reynolds), who seems to know what he’s doing and who is quite the Hemingwayesque philosopher as well, “sometimes you have to lose yourself before you can find anything.”Continue Reading
The Russians Are Coming, the Russians Are Coming
Written by William Rose, who was also responsible for the loud, brash and big It’s a Mad, Mad, Mad, Mad World a couple years earlier (as well as the overrated Guess Who’s Coming to Dinner), The Russians Are Coming, the Russians Are Coming is also a big ensemble comedy, but much better executed and focused than his previous script, with more heart and less mean-spiritedness. It also helps that it has a very able director at the helm, the nearly forgotten Norman Jewison, whose socially-conscious films still hold up (In The Heat of The Night, A Soldier’s Story, The Hurricane; The Russians Are Coming could also be considered part of that group). He had a number of films which were popular and respected in their day (The Cincinnati Kid, The Thomas Crown Affair, Fiddler on the Roof, Agnes of God, Moonstruck) and some fascinating curios (Jesus Christ Superstar, Rollerball and F.I.S.T.). He falls into that group of directors who emerged in the sixties like Arthur Penn, George Roy Hill, John Boorman and John Schlesinger who had a lot of acclaim and made some classics, but never became brand names like Polanski and Coppola, or even to a lesser extent Mike Nichols and Sydney Pollack. Jewison has as many solid films as his peers, though looking back none reach that same level of transcendence as a Bonnie and Clyde, Midnight Cowboy or Deliverance. For my money, though many would disagree, The Russians Are Coming, the Russians Are Coming is his film that holds up best today.
Based on a novel by Nathaniel Benchley (whose son Peter wrote the novel Jaws), set in a little New England beachy island community (very similar looking to that one in Jaws, though surprisingly actually shot in Northern California), where a Russian submarine gets stuck in a sandbar, leading to havoc in the town. This was a few years after the Cuban Missile Crisis, so this was the height of cold-war hysteria (think Dr. Strangelove), so even just having likable Russian characters was enough to make this film subversive to some. The film has dozens of characters, with top character actors of the day in peak form.Continue Reading