Dr. Strangelove Or: How I Learned To Stop Worrying & Learned To Love The Bomb
In the heart of the Cold War, after the Cuban missal crisis, fresh from the assassination of President Kennedy, the world seemed to be on the brink of nuclear destruction. It was a tense era, as reflected by a number of the paranoid films that were produced - Fail-Safe, Seven Days In May, On The Beach, to name a few. Knowing the world it was released into makes the attitudes of the "black comedy" Dr. Strangelove Or: How I Learned To Stop Worrying and Learned To Love The Bomb, particularly black. While many Americans had fall-out shelters in their backyards, Stanley Kubrick's film was laughing at the ridiculousness of world annihilation, while wondering who are the hopeless leaders we have entrusted with our nukes and our planet’s future?
Kubrick co-wrote the script with satirist Terry Southern (The Loved One, Easy Rider), kinda sorta based on a novel Red Alert, an actual thriller by Peter George. Dr. Strangelove was the final film of Kubrick’s outstanding black and white period, following his other classics, The Killing, Paths Of Glory, and Lolita, a foursome as relevant and as diverse as any young American director has had. And like Lolita, Dr. Strangelove would be a showcase for the acting range of Peter Sellers. Here he would take on three utterly different roles, to much acclaim.Continue Reading
King of the Gypsies
Due to a lack of high quality competition, King of the Gypsies is still the quintessential American fiction film about modern day gypsies, that is if you're old enough to think of 1978 as “modern day” (while the best non-fiction flick has to be Robert Duvall’s little seen documentary Angelo My Love). Based on a novel by Peter Maas (Serpico), King of the Gypsies reeks of importance and epic pretensions; but besides the cultural curiosity what actually makes the movie worthwhile and totally entertaining is the ham fisted act-off going on up on the screen. From Elia Kazan’s A Streetcar Named Desire to Clint Eastwood’s Mystic River there’s a long tradition of method acting emoters chewing scenery and King of the Gypsies has its share of hungry thespians eager to chew. Heading the cast in his film debut the young pretty-boy Eric Roberts, pouting and brooding (but even under a teary-eyed tortured sulk the guy has chops and acts up a storm), doing what he can to keep up with his co-stars Susan Sarandon and Judd Hirsch who are totally over the top, with legendary ultra-hams Sterling Hayden and Shelly Winters nipping at their heels. Any film where Michael V. Gazzo (Frank Pentangeli in the Godfather: Part II) is an example of restraint in his one early scene, you know this is going to be some histrionic fun.
A New York and Pennsylvania gypsy clan is led by Zharko (Hayden); he claims to live like a millionaire who’s never done an honest day’s work in his life. The nomadic gypsies live without birth certificates, driver’s licenses, or paying taxes; they are proud criminal...
Out of the Past
Of that post-WWII generation of male actors who came of age in war flicks but really defined themselves in the Film Noir genre, none was cooler than Robert Mitchum (and that was a group of cool dudes that included Burt Lancaster, Richard Widmark, Sterling Hayden, Robert Ryan, and his co-star here Kirk Douglas). Whether playing a hero or a villain, Mitchum reeked of both danger and manly charm even when he spewed indifference. His career spanned decades with a number of signature roles and important films, but of the Noir period none was better than that of ex-detective turned gas station owner Jeff Bailey in Out of the Past.
Director Jacques Tourneur is more known today for his groundbreaking horror flicks with producer Val Lewton: Cat People, The Leopard Man and I Walked With a Zombie. Though in retrospect those eerie and strange shadowy black n’ white flicks could be called horror noir, making the Frenchman the perfect director to bring his almost Expressionistic approach to a crime mystery in what was then considered a B-genre. Like much gothic horror, Jeff Bailey is a guy haunted by his past, trying to escape from his own mind and hide from his own instincts.Continue Reading
If you watch any of the terrific documentaries on films of the last fifty years (The Kid Stays In The Picture, A Decade Under the Influence, Visions Of Light, etc) you will notice there is ONE film that comes up over and over, its influence and success massive, the impact it had on the public and the industry indescribable. If you polled people, I bet it would make as many favorite ten-best lists as any other movie. If I happen upon it on TV I set sucked right in. It's the Gone With The Wind of its time.... Yes, you know what we are talking about, The Godfather. Perhaps the greatest movie ever made.
Of course this is the epic story of a post-WWII Italian American family. Vito, the Patriarch (Marlon Brando), is the head of the Corleone crime organization. The film opens at the wedding of his daughter, Connie (Talia Shire). His oldest son, Fredo (John Cazale), is a rather weakly type. His next son, Sonny (James Caan), a hothead womanizer, is the heir to take over the business. There is also an adopted Irish American son, Tom Hagan (Robert Duvall), who works as the family’s lawyer. His youngest son, Michael (Al Pacino), is there with his new girlfriend, Kay (Diane Keaton). He is not part of the family business; as a collage graduate and a "war hero" there are expectations for greatness cast upon him. In a nutshell, The Godfather is a tale about how Michael evolves from clean-cut, all-American wanna-be to the head of the family when his father dies and his brother Sonny is murdered. And he ends up becoming even more ruthless than his father ever was.Continue Reading