Catch Me if You Can
Catch Me if You Can is the true story of Frank Abagnale Jr. (DiCaprio) who, by the tender age of seventeen, cut over $2.5 million dollars worth of fraudulent checks and was one of the FBI’s most wanted. Frank travels the globe, taking on such identities as a Pan Am pilot, a doctor, and an attorney. Always on his tail is fraud expert Agent Carl Hanratty (Hanks) from the Bureau.
Although a story of a con man on the run from the law, the way this story is told, it comes across more like a fairy tale about the impetuousness of youth. Steven Spielberg’s direction is flawless in maintaining this tone throughout, telling a “crime story” that is amazingly playful. John Williams’ hip retro score and the great momentum of Michael Kahn’s editing add to this happy-go-lucky sort of attitude. The vibrant color palette, fantastic sixties costume and production design, and Janusz Kaminski’s cinematography, all contribute to make up this wonderful “true story of a real fake.”Continue Reading
E.T: The Extra-Terrestrial
Despite one of the worst movie titles ever, E.T: The Extra-Terrestrial produced one of the most exceptional films about a child’s alienation from the adult world and the power of love, and is certainty on par with The Wizard Of Oz as an entertaining family film with much deeper meanings below the surface. Its massive success - at one time the highest grossing movie of all-time - brought on a wave of imitative clones (many produced by its director Steven Spielberg). But as the years and the hoopla have passed, it can now be enjoyed for what it is - irresistible.
An awkwardly adolescent suburban kid named Elliott (Henry Thomas), along with his younger sister and older bother (Drew Barrymore and Robert MacNaughton), are dealing with their preoccupied mother’s recent divorce from their father. She is played by Dee Wallace who went on to play the mother protecting her son from a psycho pooch in Cujo. Elliott comes upon a stranded space alien in his backyard whom he conveniently names E.T. (short for "Extra-Terrestrial," get it?). Employing his bro and sis they join the cute E.T on his quest to be reunited with his fellow spacemen, while having to hide him from their mom and the scary government officials who are searching for him. Oh, and earth's rotten atmosphere is slowly destroying him.Continue Reading
Before film books exploded as a genre in the 1970s, the most significant published books about the art of film were James Agee’s two volume Film I & II in ’48 and ’52 and Pauline Kael’s works on late '60s film criticism, I Lost It at the Movies and Kiss Kiss Bang Bang. But the most relevant book on film -- the one that is still of major importance today -- was Hitchcock/Truffaut by the great French filmmaker Francois Truffaut. Starting his career as a very influential film critic and essayist for (among other publications) Cahiers du Cinéma, he is usually cited as the inventor of the “auteur theory,” which gave the director the final artistic credit for the merits of a film (as opposed to the producer, who in Hollywood was just as often considered a film’s true maestro). He, along with other young French film fanatics, would begin to branch out and direct their own movies; they became the group now known as the French New Wave (or The Nouvelle Vague), which includes Jean-Luc Godard, Jacques Demy, Éric Rohmer, Claude Chabrol and Agnès Varda. This crew of filmmakers can be considered the original movie brats, as opposed to the generation of directors before them. They were raised on movies and cinema culture and also were keenly aware of a director’s body of work as a whole instead of by individual movies. (The American generation that came to prominence in the '70s was actually called “the movie brats.” This term was applied to Coppola, Spielberg, De Palma and Scorsese, who were obviously deeply influenced by their French forerunners).
Another major influence on Truffaut and his friends was an appreciation for Hollywood B-Movie and genre directors, who were under-appreciated in America: journeymen and mavericks like Nicholas Ray, Samuel Fuller, Budd Boetticher and strangely, Frank Tashlin. And while Truffaut also adored the acclaimed masters like Ford, Hawks, and Welles, his favorite was Alfred Hitchcock. Though his career went back to the silents (he made the very first feature-length British talkie), and he was usually considered box office gold and was as famous a director as there was, in the early '60s Hitchcock was still usually dismissed in American and British critical circles as strictly a popcorn director. Truffaut single-handedly set about changing that. Beginning in ’62 he started recording long, in-depth conversations with Hitchcock (aided by his American collaborator and translator Helen Scott), covering his entire body of work. He spent years compiling and editing them, and adding intricate frame-by-frame photos from his films. Finally, in ’67 the book Hitchcock/Truffaut was published and helped to change Hitchcock’s reputation from a pure entertainer to a true artist and is still today considered a bible for filmmakers and movie geeks.Continue Reading
The summer of 1975 saw a decline in beach activity and beach resort profits, not because of anything that happened in real life, but because what happened in the cinemas that summer. It was a little film, by a twenty-something director, that due to technical problems was barely able to get out of the water. At the time of its release Jaws may have been the biggest cultural blockbuster since Gone With The Wind. It was all the talk, all the rage, and its effect on beach life and the reputation of sharks is still felt today. But more importantly, hype aside, Jaws is also some good old-fashioned filmmaking, and is still one of the greatest adventure, horror films ever.
In the mid '70s it was rare for a director of a major studio movie to only be in his 20s, but after a string of acclaimed TV movies, including the landmark thriller Duel, Steven Spielberg was called a wunderkind. His first go at the big screen, The Sugarland Express with Goldie Hawn, was a well done road picture. Though it was steeped in '70s rebellion, it didn’t come close to revealing just how in touch with the pulse of audiences Spielberg would prove to be.Continue Reading
National Lampoon’s Animal House
The impact that National Lampoon Magazine had on American comedy during the 1970s was enormous, eventually spawning the massively ripped-off comedy movie National Lampoon's Animal House (as well as the Vacation series and some crappy forgettable flicks). You could say that the long running sketch comedy show Saturday Night Live symbolically evolved from National Lampoon (as well as from the Second City comedy clubs in Chicago and Toronto). Following the success of SNL's first breakout star, Chevy Chase, John Belushi would earn a cult following from his performance in Animal House that would last past his untimely death four years later from a drug overdose, leading the way for SNL alumni to dominate comedy for decades.Animal House follows two freshmen, Pinto (Tom Hulce) and Kent (Stephen Furst), "a wimp and a blimp," at Faber College in 1962. After being turned away from the elite fraternities they end up joining "the worst house on campus," Delta House. These campus outlaws are in constant trouble with Dean Wormer (brilliantly played by the snaky John Vernon of Point Blank), as they are placed on “double secret probation.” Eschewing academics or athletics, Delta members are either out to get wasted or laid, lead by would-be playboy, Otter (Tim Matheson), and super slob, Bluto (Belushi). There are a number of memorable scenes including Pinto and fellow Delta, Boon (Peter Riegert), along with his girlfriend, Katy (Karen Allen), being introduced to pot by a professor (Donald Sutherland); Belushi's stroll through the cafeteria line hoarding food and then his zit imitation; the guys' trip to a Rhythm N Blues club where Otis Day and the Knights perform (a scene ripped off in Weird Science). After the fraternity is expelled their revenge on the sc...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