This movie is not ranked on the top of AFI’s "Greatest American Movies" of all time for nothing. Every single aspect and element of this film - from its direction, cinematography, script development, performances, editing, to its art direction - is outstanding. When you take a director such as Roman Polanski, add a writer like Robert Towne, and have actors such as Jack Nicholson and Faye Dunaway, it’s almost a done deal. What leads this film to excel beyond excellence is its profound content and complex, multi-leveled storyline. Its underlying historical significance concerning the 1930s water rights in Los Angeles has also earned the film to be selected for preservation by the United States National Film Registry by the Library of Congress in 1991.
The story is set in the 1930s. J.J. “Jakes” Gittes, played by Jack Nicholson, is a Los Angeles private investigator hired by Evelyn Mulwray to spy on her supposed cheating husband, who is the city’s chief engineer for the water department. Soon after the initial investigation, Gittes finds that this woman is an impersonator of Evelyn Mulwray. He plunges into the case to discover the complex twists and turns of a murder involving incest and municipal corruption, which somehow all relate to the city’s water supply. How far do people in power go to keep themselves in that position? Follow Gittes’ investigation to find out.Continue Reading
Along with the original versions of The Texas Chainsaw Massacre and Night Of The Living Dead, Rosemary’s Baby was one of the most frightening film-watching experiences of my life. And what really makes Rosemary’s Baby an even more special film is that if you took the "horror" elements out of it and you just had a film about a young couple in New York City in the late '60s it would still be completely entertaining. It’s a great lesson in storytelling: interesting characters first will make the "horror" more powerful.
The perfectly taut screenplay credited to director Roman Polanski follows Ira Levin’s novel almost scene for scene, line for line. There is not a loose shred in the script, which may sound simple enough on paper - newlyweds Guy (John Cassavetes) and Rosemary (Mia Farrow) move into an old Manhattan building where they become friends with the elderly couple next door (Ruth Gordon and Sidney Blackmer). Slowly the pregnant Rosemary begins to suspect that they and their creaky posse are part of a witch’s covenant of devil worshippers who are hungry for her unborn baby.Continue Reading
Moving pictures concerning WWII concentration camps have a tendency to romanticize the subject matter, and probably for good reason. But since Polanski experienced it for himself, the film naturally becomes personal for the viewer. The Pianist is filled with raw intensity and beautiful storytelling. Instead of focusing on the account of such an incredible turning point of world history, Polanski chooses to emphasize human character, conditions, flaws and strengths.
The story is based on the memoir of Wladyslaw Szpilman, a Polish Jewish pianist who performed for Polish Radio and composed classical and popular music. His survival in the Holocaust is an incredible and moving tale. There is no way to define the tragedies of the Nazi march through Poland in any simple terms, but here is a film that depicts an intimate portrait of one who has traversed the witnessing of human death, loss of career, home, and family, and the persecution among his own race.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