It’s rare when you can so clearly see it, but when that monolith from 2001: A Space Odyssey dropped in on Hollywood in 1968, the police film also made a clear evolutionary jump with Bullitt. The year before is often cited as the year "New Hollywood" fully kicked off, with the releases of The Graduate and Bonnie & Clyde. That same year the police drama would get the mixed-race/cop-buddy film In The Heat of The Night, as well as the "ultra-violent criminal as hero" in Point Blank. The big screen cops of that era, though, were still closer in spirit to TV's Jack Webb busting hippies on Dragnet 1967 than they were to the characters in the French New Wave inspired Bonnie & Clyde. With the old studio system dying a slow death, the standards were relaxing a bit; therefore actors like Richard Widmark in Madigan, Clint Eastwood in Coogan’s Bluff, David Janssen in Warning Shot, and Aldo Ray in Riot on The Sunset Strip may have seemed a little edgier than usual (Frank Sinatra in The Detective even added an [in its day] shocking homosexual plot line), but those cop flicks still felt closer in style to the ones of the '50s with Glenn Ford or Kirk Douglas. Like an atom bomb Bullitt changed everything, and the policeman movie was never the same.
Actor Steve McQueen was already a big star with The Great Escape and The Cincinnati Kid, and a year earlier he got his only Oscar nomination for The Sand Pebbles. But ’68 was the year he became a mega-star thanks to the two giant hits: Bullitt and The Thomas Crown Affair. With Bullitt, McQueen’s own production company bought the rights to Robert L. Fish’s novel Mute Witness, and then brought in the little known director Peter Yates, having seen his minor heist film Robbery. Here McQueen plays the very cool San Francisco police Lieutenant, Frank Bullitt (with a name like that, how could he not be cool?). He and his guys are given the assignment of babysitting a minor criminal who is going to be the star witness against the mob in a Senate hearing (staged in San Francisco, for some unclear reason) that is being run by an ambitious politician (Robert Vaughn). While Bullitt is out wooing his pretty British girlfriend (Jacqueline Bisset) the safe-house is hit, and a cop and the star witness are fatally wounded. After the witness dies in the hospital, Bullet and his sidekick, Delgetti (Don Gordon), sneak the body out to the morgue so the hit-men will think he’s still alive, turning the film into a series of chases: on foot through the hospital, outside an airport, and most famously in cars through the hilly streets of San Francisco, which is what the film is still mostly remembered for. Along with The French Connection, any great car chase list will forever include Bullitt’s ten minute game of cat and mouse, which brought an authenticity to the car chase using real locations and cameras in the cars. The car chase alone helped win editor Frank P. Miller an Oscar and is still studied today by many a fledgling film maker.Continue Reading
Though it almost shares a title (but little else) with director Enzo G. Castellari’s 1978 spaghetti-war flick The Inglorious Bastards, which was just a dirtier Dirty Dozen knockoff, Quentin Tarantino knows a good title when he sees it. With a minor spelling change he gave us his own comic book WWII movie, Inglourious Basterds. With a definite nod to François Truffaut’s The Last Metro, it’s like a Powell & Pressburger (49th Parallel, One of Our Aircraft Is Missing) piece of propaganda, if those guys were still making those flicks in the 1970s. What at first glance may seem like a nasty and mean Nazi revenge fantasy is actually a tribute to the power of cinema and the power of Tarantino’s beautifully composed dialogue. This may be the most talky war script ever written, but unlike the pointlessly inane ramblings of the film he made two years before this, Death Proof (his half of the double feature movie Grindhouse), this dialogue is used to constantly build suspense, and in the hands of an expert actor like Christoph Waltz, it often sounds like an evil poetry. Aided by the clever score, pirated from other films, and the sharp period detail, Inglourious Basterds proved to not only be one of Tarantino's most ingenious creations, but is a film that has aged well (in the brief years since) and is sure to take its place with the best of the genre (lets call ‘em Naziploitation flicks).
Inglourious Basterds is an equally shared international ensemble piece divided into chapters. First you are introduced to a cat n’ mouse playing German SS man, "Jew Hunter," Col. Hans Landa (Waltz in a mannered piece of scenery chewing that deservedly won him an Oscar). The film opens with him interrogating a French dairy farmer who is hiding a neighboring Jewish family in his floorboards. He toys with the man before his soldiers shoot up the floor, but the teenage daughter Shosanna (Mélanie Laurent) manages to escape into the countryside. Meanwhile an American unit commanded by a very Southern Lt. Aldo Raine (Brad Pitt acting like a cross between Yosemite Sam and Foghorn Leghorn) leads a group of Jewish soldiers known as the "Basterds" on a dirty trick mission to torture and wreak havoc on Nazis, becoming legends and the thing of nightmares to Nazis, including even a flummoxed Hitler (Martin Wuttke). A few years later, Shosanna, now known as "Emmanuelle Mimieux" (and resembling a young Catherine Deneuve), runs a hip cinema in Paris and is any movie geek’s dream girl. Unfortunately she has the unwanted attention of a young German war hero, Fredrick Zoller (Daniel Brühl of Good Bye, Lenin! and The Edukators). He is even starring as himself in a recently completed film about his sniper exploits called Nation’s Pride, directed by head Nazi propagandist Joseph Goebbels (Sylvester Groth). Zoller convinces the higher-ups, including security-chief Hans Landa, to hold the premiere at Shosanna’s cinema, with the German high command in attendance, including the Führer himself. Shosanna and her boyfriend hatch a plan to burn the theater down during the screening.Continue Reading
After his death, Steve McQueen reached rebel-cool icon status based on his off-screen machismo (racing cars and motorcycles, martial arts with Bruce Lee, stealing Robert Evans’ wife) and partly on his actual film resume, which in retrospect isn’t as great as you would expect. His peak years start in ’63 with his one masterpiece, The Great Escape (he did the overrated but still influential Western The Magnificent Seven a few years earlier), a couple of big hits that now feel more like remake-bait time capsules (The Thomas Crown Affair and The Cincinnati Kid), and of course there is also Bullitt, largely famous for its amazing high-speed San Francisco auto chases. But for the most part the late sixties were rounded out with forgotten melodramas (Love with the Proper Stranger, Baby the Rain Must Fall and The Sand Pebbles). The early seventies include a couple lesser collaborations with Sam Peckinpah (Junior Bonner and The Getaway) and the super cast/super dud The Towering Inferno. But besides appearing as himself in the Oscar-winning motorcycle documentary On Any Sunday, McQueen’s best film since The Great Escape is the epic Papillon, a film that has been written off by some as overly long and cold. But for my money it’s one of the best prison escape movies ever, as well as an eye-opening look at worlds I knew little about. (ALSO OF NOTE: I first saw it as a very young kid, in its second run at a drive-in, and there are some moments of violence that then confused me, but have stuck with me ever since.)
Based on the questionable autobiography of French petty criminal Henri “Papillon” Charrière, (played by the very American McQueen and shot in exotic locations all over the world) the script is credited to blacklisted legend Dalton Trumbo (Spartacus) and Lorenzo Semple Jr. (one of the creators of the '60s Batman TV series). The film begins in pre-WWII France with Papillon and other convicted criminals being marched through town and on to a boat to be shipped off to a French penal colony work camp. On the long and brutal ship ride, Papillon strikes a deal with a wealthy and rather famous forger, Louis Dega (Dustin Hoffman in full nebbish mode), for protection. With a promise to keep the meek embezzler alive, Dega will finance any escape attempts. Through the course of time, the two strike up an unlikely friendship (a prison adventure Midnight Cowboy). The film covers years in swampy, tough malaria-plagued conditions, finally ending on the infamous Devil’s Island. The film is loaded with wonderful set pieces, including long and short escape attempts, a leper colony, sadistic guards, creepy prisoners, solitary confinements and lots of double crosses (even a nun stabs Papillon in the back). It’s a survival saga and a friendship story, though the survival aspect is the highlight.Continue Reading
The Dirty Dozen
The Dirty Dozen, the granddaddy of action super-team flicks, took the sheen off the WWII big ensemble picture (The Longest Day, The Great Escape) and mixed in the military cynicism that was bubbling up (encouraged by doubt about the Vietnam War) with rowdy anti-heroics (MASH, Kelly’s Heroes). Like so many films to follow, the film breaks into two halves easily: first, assembling the team full of anti-authority types (Stripes); and second, the undercover suicide mission behind enemy lines (Inglourious Basterds). After years of dependable supporting performances in The Wild One, The Man Who Shot Liberty Valance and Ship of Fools, this may be silver haired, tough guy actor Lee Marvin's signature role (with apologies to the great crime thriller Point Blank and his Oscar winning work in the otherwise forgettable Cat Ballou). The Dirty Dozen gives Marvin the perfect opportunity to showcase his brawn as well as his sense of humor. As Major Reisman, he is assigned the task of putting together a WWII team made of 12 creeps and criminals, many of whom are facing the noose, to first train and then sneak into France before D-Day to kill a group of high-end Nazis (with their dates) at a fancy chateau shindig.
The team is made up of many future stars, or at least interesting cinematic curios...Continue Reading
The Great Escape
After putting together a super team for the exciting western The Magnificent Seven, director John Sturges assembled the rat-pack for the much duller western, Sergeants 3; so down but not out, Sturges reconvened some of his Magnificent Seven cast for his masterpiece, the WWII POW epic The Great Escape. With apologies to King Rat, Merry Christmas, Mr. Lawrence, Empire of the Sun, The Hill, and even Victory, the official, no- arguments-allowed Big Three of POW flicks are (in order of release): Stalag 17 then The Bridge on the River Kwai, and finally The Great Escape; you can argue which of the Big Three is tops, but all three are wonderful and will rank in any war movie best-of list.
Like the recent action flicks The Expendables or The Avengers, The Great Escape is about assembling the team of super cool (now familiar) faces. The Magnificent Seven put the young supporting Steve McQueen on the A-List. Here, he’s the top dog and it may be his most memorable role; joined by two of the other Seven co-stars, Charles Bronson and James Coburn (who would both go on to be big stars in the years to come), with James Garner bringing his awe-shucks charm that would captivate TV audiences for decades and, rounding out the team, the British actors Richard Attenborough, Donald Pleasence, David McCallum, and James Donald (who was also in The Bridge on the River Kwai), lending some class to the team.
Von Ryan’s Express
Two of the best action subgenres of the 1950s & '60s were the POW escape films (Stalag 17, The Bridge on the River Kwai, The Great Escape) and train adventure flicks (Narrow Margin, The Train, Dark of The Sun). So what would happen if you combine the two? You get a really fun, utterly ridiculous, totally memorable movie from ’65: Von Ryan’s Express. Besides being a train adventure, what sets this one apart from other POW flicks is the adversary. While the prisoners of Stalag 17 and The Great Escape were housed in German camps and Kwai had Japanese overlords, the captives of Von Ryan’s Express are stuck in an Italian camp. And whether based on any kind of truth or not, Italian guards just don’t feel as cruel or deadly as their other Axis Powers partners. Based on a novel by David Westheimer (who also penned the novelization of Days of Wine and Roses), with the solid journeyman director Mark Robson (Earthquake, Valley of the Dolls) at the helm, this was made in the heyday of Frank Sinatra vanity projects and as usual he often feels miscast as an actual human being. On paper his role seems better suited for a more obviously physical presence, like a Lee Marvin. After all, Sinatra looks like he would be more comfortable with a martini in his hand than a machine gun, but his skinny frame in a wrinkled military outfit only lends to the absurdity and the fun.
A depressed group of mainly British prisoners in an Italian camp get a load of energy into their squalid existence when American Colonel Ryan (Sinatra) shows up, having been shot down in Italy. The highest ranking officer before him showing up was the very English Major Fincham (the always watchable Trevor Howard, in the more hammy late phase of his impressive career), who doesn’t like being pushed around by the runty Yank. When Ryan sees the poor condition of the health of the men, he rats out the tunnels they’ve been digging, in order to get the medicine the wacky Italians have been holding from them. But Ryan slowly earns the Brit’s respect by getting them new clothes and taking his punishment in the “sweat box.” Later, when it appears the war is coming to an end, the Italian guards flee giving the POWs free reign. They take off through Italy but are eventually caught again and put on a train headed for Rome, which is now overseen by nasty Germans who kill all the sick men. This is where the more original action setpieces start, as Sinatra and the boys take over the train and then have to ride it out of Italy while posing as Germans. In maybe the most bizarre scene, a British doctor (Edward Mulhare) who speaks some German poses as a Nazi high command to get the clearance for the train trip to continue and the two fifty-somethings, Howard and Sinatra, dress up like Nazi soldiers to accompany him. They must be the two oldest looking privates in the German army and actually resemble the Cowardly Lion and the Scarecrow when they dress up as flying monkey soldiers in The Wizard of Oz. What a sight for sore eyes!Continue Reading
You Only Live Twice
It’s hard to pick a favorite of those first five James Bond films starring Sean Connery. Goldfinger and Thunderball have their fans. Dr. No is also a blast and the locations and Robert Shaw as the bad guy in From Russia With Love make it pretty special, but I would go with You Only Live Twice. It‘s the last of the 1960s Connery Bonds before he came back for the series' official jumping-of-the-shark four years later in the disappointing Diamonds Are Forever (in between being replaced by George Lazenby for one film, ironically, maybe the best Bond flick, On Her Majesty’s Secret Service). All of the Bond flicks of the period work as fascinating international travelogues (wow look at Istanbul in ’63!), butYou Only Live Twice’s Asian setting (mostly Japan), is particularly compelling. Besides Japan’s sexism matching and even topping Bond’s usual misogyny -- I point this out as an anthropologist, not a critic, and as a fan of Japanese cinema, especially Seijun Suzuki’s Yakuza flicks -- it’s fun seeing Connery walk (or run) through similarly blocky industrial locations, that look so familiar from other films. Though Twice’s fantastical centerpiece is its most dated aspect (a stolen rocketship from outer space), what works best is the pure procedural detective work Bond is forced to do and some of the best action set pieces of the franchise. Though Connery donning a bad haircut and slight eye makeup to go undercover as a Japanese man is less shocking then, say Marlon Brando actually playing Japanese in Teahouse of the August Moon and not as completely offensive as Mickey Rooney’s hateful caricature in Breakfast at Tiffany's, it still is a little off-putting, saved only because his eye makeup is less Japanese and more Vulcan.
In one of the more comprehensible Bond plots, the secret agent is forced to go poke around Tokyo, after an American and then a Soviet spaceship are hijacked. Only the British don’t get caught up in the Cold War politics, believing neither super power is responsible since they have reason to believe the ships touched down off the sea of Japan. Bond infiltrates corporate Japan aided by the very beautiful Aki (Akiko Wakabayashi) -- who more than once saves him in her bitchin’ convertible Toyota -- and a Japanese Secret Service man, Tiger Tanaka (Tetsurō Tamba), one of the rare second fiddles who seems to be an equal with Bond in both brains and chauvinism. With a script by the great Roald Dahl (most famous for his children’s books including Charlie and The Chocolate Factory, although he also had a background in Britain’s intelligence offices), this was apparently the first Bond script that veered strongly from Ian Fleming’s original source material, which may be why it plays so well. Eventually Bond's snooping leads him to a secret volcano base where the nasty head of SPECTRE, Ernst Blofeld, is stealing the rockets in an effort to start a world war. Along the way there are some classic moments, including a brutal fight between Bond and a sumo wrestler, a dog fight in Bond’s gyrocopter “Little Nellie” and a great attack on the volcano base by ninjas. The lair is as spectacular a set as ever was constructed at that point, complete with Blofeld’s escape monorail and a man-eating piranha pond. Along the way Aki is killed but Bond quickly replaces her with the equally cute Kissy Suzuki (in the book she gives birth to Bond's child); she seems uptight at first but loosens under Bond’s charm, even wearing a bikini while volcano climbing. Bond also has a great run-in with an evil businessman’s killer secretary, Helga Brandt (Karin Dor), who though assigned to kill Bond, first turns him into her boy-toy before leaving him to die in a plummeting airplane.Continue Reading