Just because Citizen Kane is often cited as the greatest film ever made or the most important film of all time and just because you might have had to watch it in an "intro to film" class does not mean it’s homework. Unlike other landmark filmmaking oldies such as Birth Of A Nation or Battleship Potemkin, Citizen Kane is not a snoozer - it’s really amazingly entertaining. (Actually the "Odessa Steps" scene in Battleship Potemkin is a rather gripping piece of editing, but the rest of it is rather boring.) With his first film, Citizen Kane, the twenty-something wunderkind, Orson Welles, took on the Hollywood establishment (as well as William Randolph Heart’s publishing empire) and changed film, but most importantly made a fun, fun movie that still holds up quite well today.
The complicated plot of Citizen Kane famously mirrors the life of publishing tycoon William Randolph Hearst. As a boy Charles Foster Kane is taken from his mother when he inherits a small newspaper. Eventually he grows up to be Orson Welles. The film follows him from a cynical kid fresh out of college who thinks it would be fun to run a newspaper, to old age when he dies a miser and an extreme treasure hoarder. But what really made Citizen Kane revolutionary in 1941 was the way the story was told (besides Gregg Toland’s groundbreaking camera work). It opens with a long Newsreel documentary after Kane has died which tells his life story (though a press eye view). On his deathbed his last word was "Rosebud" and” a group of reporters sets out to find what or who was Rosebud. They interview the key people in his life, each telling different versions of Kane’s story, in flashbacks, from their perspective.Continue Reading
Run for The Sun
Richard Widmark got his only Oscar nomination playing one of the great psycho creeps in film history, Tommy Udo in Kiss of Death. It was his first film and it made him an instant star, most famous for that scene where he pushes a woman in a wheelchair down a flight of stairs while giggling hysterically. Though he was ruggedly handsome with sweepy blond hair, he was never fully able to drop that creepy Klaus Kinski quality, even as he gradually moved into heroic leading man roles, but it helped make even the most generic film a little more interesting. Widmark was part of that impressive group of leading men who emerged after WWII, mostly in Film Noir. Though he starred in a number of significant films including Panic in the Streets, Night and the City, and Pickup on South Street, he is not remembered today with the same iconic status as his contemporaries, such as Lancaster, Mitchum or Kirk Douglas, who all had more important roles on their resume. But with MGM releasing a little known gem, Run for the Sun, on their Limited Edition DVD Collection, perhaps it will help Widmark’s career get more reevaluation.
Though British director Roy Boulting did over 20 movies, he might be best known for making Disney child actress Hayley Mills his fourth wife (he directed her in the oddball horror flick Twisted Nerve). Run for the Sun may prove to be his lost almost-masterpiece (okay, I’m exaggerating. It’s no masterpiece, but it’s very watchable). The script is credited to Boulting and Dudley Nichols (Stagecoach) but the credits say it was based on a story by Richard Connell, making it another kinda-sorta version of his famous short story, "The Most Dangerous Game." Connell's story had been adapted before as a classic with Fay Wray in 1932 and then less memorably in a Robert Wise directed flick retitled A Game of Death in 1945 (and much later and more loosely in the John Woo/Jean-Claude Van Damme collaboration, Hard Target, and the Ice-T trash epic, Surviving The Game). In the end Run for the Sun is about as close to "The Most Dangerous Game" as The Hunger Games is; that is to say, there are some plot crossovers, but not much more.Continue Reading
Searching for Sugar Man
Like a real life Eddie & The Cruisers this British documentary by a Swedish director (Malik Bendjelloul) about a Detroit folk singer named Sixto Rodriguez who became an icon to a generation of white South Africans is both an in-search-of mystery and an inspirational tome to the power of music and survival. Searching for Sugar Man is another one of those documentaries that if it didn’t have “true story” stamped on it might be too crazy to believe. Not to mention that for someone my age to know that this person existed (and in my own childhood backyard of Detroit) and, like most of the world, am only now becoming aware of the stunning music that he created, it’s sad that Sixto Rodriguez's beautiful songs haven’t been on my heavy rotation all my life. But since seeing this movie they have become ingrained in my head and will never leave.
Coming out of nowhere for a handful of music business types in the late sixties, Mexican American Detroiter Sixto Rodriguez sounded like he could be the next big thing. He had a clear voice (that reminds me of Donovan) with sophisticated lyrics about love, heartbreak and socio-political ills in the Bob Dylan tradition. He recorded two albums and both were commercial flops. So Rodriguez (as he was known) went back to being an inner-city guitar-toting day laborer (and, of course, was screwed out of royalties for his songs). And that’s the end of that story. Or was it? Copies of the albums made their way into South Africa where they became massively popular to a generation of white Afrikaners who were coming of age and questioning the system of apartheid in which they grew up. A total police-state boxed-out from the rest of the world, South Africa was a little behind the times culturally and cut-off when it came to music information. The rebellion and loneliness in Rodriguez’s lyrics spoke to them. The rumor was that Rodriguez had dramatically killed himself on stage, putting an end to any kind of personal contact South Africans might have hoped to have with their idol. But the music lived on and came to define the decade for many.Continue Reading
The Fallen Idol
Though Carol Reed strangely won an Oscar for his direction of the forgettable Oliver (in the '60s they gave lots of awards to those bloated musicals), he is actually best remembered for his bona fide masterpiece, The Third Man, which he made almost twenty years earlier. Wrongly many uninformed pseudo film historians often try to give Orson Welles credit for the film, even though he only popped on to the set for a few days to film his towering supporting performance. Yes, the film does have a "Wellesian" vibe stylistically, but the real truth is in the two movies Reed made just before it. They prove that he was already moving in a sorta Noir-lite direction, first with the acclaimed Odd Man Out and then his other great film, The Fallen Idol. Though one might describe the latter as a “little gem” it carries much more depth and style than most of the British-made thrillers of the day and in the end it can just about stand as an equal to the more beloved The Third Man. Both films are also part of Reed’s trilogy of films written by the great English novelist Graham Greene. (The trio also includes the lesser known Our Man in Havana). And though Reed would have an up-and-down career over the years--with solid films like Trapeze, many misses and the over-rated Oliver--it was the mega-bomb Mutiny on the Bounty starring Marlon Brando that really sank him reputation-wise (a film I actually adore, but I’m in the minority). But that one-two punch of The Fallen Idol and The Third Man will always solidify him as one of cinema’s greats.
For The Fallen Idol, Greene adapted the script from his own short story “The Basement Room” and it’s a really nifty one. As the son of the French Ambassador living in London, little eight-year-old Philippe (the very good kid actor Bobby Henrey, in the first of only two feature film credits) has the run of the big embassy as his parents are usually away. He is more or less raised by the butler and maid, Mr. and Mrs. Baines (Ralph Richardson and Sonia Dresdel). The rambunctious French kid is always getting scolded by the uptight and abusive Mrs. Baines but he utterly adores Mr. Baines and his ridiculous stories of past adventures in the wilds of Africa. One day Philippe follows Mr. Baines out of the house and stumbles on him in the midst of an emotional scene with another Embassy employee, the pretty French secretary Julie (Michèle Morgan). Since the whole film is through the boy’s eyes, he doesn’t fully understand the two are in the midst of a torrid affair, complete with the drama of one of them being married. Hoping to help his friend, Philippe becomes the center of secrets between the adults, eventually leading to a stormy fight between the married couple and an accident that leaves Mrs. Baines dead, with Philippe confusedly thinking Mr. Baines did it. Unfortunately, as the police investigate the accident all the secrets and lies between Philippe and Baines confuse the kid more, and as he tries to cover for Baines he only helps to make the police think Baines murdered his wife.Continue Reading