With Atlantic City the then 67-year-old Burt Lancaster gave the performance of his five decade long film career. And what an incredible career it was. As Lou, an over-the-hill, broken down loverboy who dreams of one big score and still fancies himself a player, telling tales of one-time peripheral ties to the mob, Lancaster is able to use the physical and emotional gifts that have defined him his whole career. Like many of his characters, Lou is all buff and gusto on the outside, while sensitive and gooey on the inside.
Lou spends his days running numbers and looking after his sugar-mama Grace (Kate Reid), a decrepit ex-mob moll who came to Atlantic City during WWII for a Betty Grable look-a-like contest. The highlight of his life is lusting after his younger neighbor, Sally, a casino waitress and wanna-be blackjack dealer (an outstanding Susan Sarandon). Lou peeps at her through the windows as she gets topless and erotic with a lemon, rubbing it on herself to get rid of the restaurant's clam smell. When Sally’s lout ex-husband stashes a huge bag of cocaine in his pad and then gets killed by mobsters, Lou is able to woo Sally and become the true gangster he always fantasized about being. Meanwhile the city of Atlantic City in the background represents the foreground - it’s an aging, crumbling dinosaur being torn down by developers and being rebuilt with slick new buildings.Continue Reading
Au Revoir Les Enfants
The great director Louis Malle is so often overshadowed by his cultier French New Wave colleagues. His The Lovers and Elevator to the Gallows, both made in ’58, preceded Godard’s Breathless and Truffaut’s The 400 Blows by a year. But while both directors were heavily inspired by him, their film debuts are always much higher ranked by film historians. After Malle’s first two near-classics he had some hits but didn’t start making timeless films until the '70s, with his fearless Murmur of the Heart (still cinema’s best coming-of-age incest flick) and Lacombe, Lucien (about a Nazi-loving French kid). Malle went on to do something none of his peers did; he made several American masterpieces, his quick trilogy from '78-'81 including Pretty Baby, Atlantic City and My Dinner With Andre. They were some of the best films of the era. He also married American actress Candice Bergen (though his woeful follow-up, Crackers, with Sean Penn, is thankfully forgotten). Finally, after a few documentaries, he returned to France for one of his best films, the apparently autobiographical WWII youth drama Au Revoir Les Enfants (“Goodbye, Children").
Malle’s younger self can be seen in the hero of the movie, the twelve-year-old Julien Quentin (Gaspard Manesse). This is the kind of three-dimensional child character that cinema rarely gets right; he’s certainty an equal to François Truffaut’s alter ego Antoine Doinel. He’s cool, he’s kind of a rebel, but he’s also an observer, a reader and a thinker. These are traits that we are never told about, but we are able to see with small gestures. And to make things even more complicated, underneath his confident class clown act he’s also a deeply sensitive mama’s boy. He slowly befriends the new kid at their Catholic boarding school, the shy but obviously very intelligent Jean Bonnet (Raphael Fejto), whom it turns out is actually Jewish (posing as a Protestant). He’s one of three students being hidden by the priests from the occupying Nazis. They develop an interesting bond and the usually selfish Julien comes to empathize with Jean, but like many young people, he still has to overcome his own issues and insecurities before it’s too late.Continue Reading
My Dinner with Andre
French director Louis Malle’s incredibly diverse career ranged from the exciting rule-bending era of the French New Wave to his documentary period, his work during the cinema revolution of the ‘70s, and finally to his American phase. Perhaps no film was more ground breaking then his astonishingly simple, yet hugely entertaining My Dinner with Andre—what is essentially a couple hours of two men who hadn’t seen each other in some time having a fascinating discussion over dinner.
Andre Gregory and Wallace Shawn, both known from the New York cultural and theater scene, play “Andre Gregory” and “Wallace Shawn,” which is to say they play themselves or at least variations on themselves. In real life Gregory had made a name for himself as an experimental theater director, traveling the world in search of groovy artistic expression. (He was a sometimes actor post-My Dinner with Andre, most memorably as John the Baptist in The Last Temptation of Christ). Shawn, the son of legendary long-time New Yorker editor William Shawn (which gave him lifelong NY high-brow street-cred) had some success as an off-off Broadway playwright, but ever since Woody Allen cast him as Diane Keaton’s ex-husband in Manhattan he has worked steadily as a character actor. The two started to record their own conversations and then got director Malle involved to help shape it into a script.
Obviously the film is through the eyes of Shawn (he’s the “My” in the title). Opening with his narration, he explains that even though life is not going well recently he is dreading having to meet an old acquaintance, Andre, for dinner. He’s heard that Andre was telling people at a dinner party that he can talk to trees. Once the meal and conversation get rolling he becomes completely absorbed in Andre’s stories of Transcendental Meditation while ...