Cradle Will Rock
Cradle Will Rock belongs to that class of movies that don’t particularly offend anyone or bomb big enough to become a notorious flop; nor was it greeted with a ton of enthusiasm. Considering the talent involved with the film—Tim Robbins, Bill Murray, John and Joan Cusack, and Susan Sarandon, to name but a few—the mild applause the film seemed to generate upon its release was kind of like damning with faint praise. I never understood this because I find Cradle Will Rock to be a whole lot of fun, while at the same time serving as a pointed critique of the political apathy prevalent in art today.
The film tells the story of one of the most mythologized theatrical events of the 20th century. No surprise that Orson Welles was directly involved then. We’re in New York in 1937 and the city seems to be the epicenter of a massive upheaval in society at large. There is labor unrest, growing unease about global fascism, and a gnawing sense that capitalism has failed the common interests of the average citizen. (Hey, maybe the film is due for a critical re-appreciation after all…)Continue Reading
Over the decades, Tim Burton has made himself into a brand name (mostly off the success of his earlier films). While he is a master of images and ideas inspired by comic books, B-movies and campy pop culture, the story and payoff rarely lived up to the potential. After an impressive run of films about outsiders like Pee Wee’s Big Adventure, Beetlejuice and Edward Scissorhands (and the box office bonanza of Batman and Batman Returns), Burton peaked with what is still his best movie, a biography of the beloved, transvestite director of horrible films, Edward D. Wood, Jr., titled appropriately enough Ed Wood. The flick follows Wood in his “Golden Period” of the 1950s and his collaboration and friendship with has-been horror icon Bela Lugosi on three quickie cheapies, Glen or Glenda, Bride of the Monster and his Citizen Kane, Plan 9 from Outer Space. All three films are on the Mount Rushmore of so-bad-they-are-good movie classics. Wood’s best qualities may have been his enthusiasm and an ability to build a stable of oddball friends who took part in his projects. Burton has managed to craft both a moving tribute to a talentless dreamer and a perfect scene-for-scene recreation of those hilarious films.
The film is shot in gorgeous black and white by cinematographer Stefan Czapsky (Last Exit to Brooklyn), and instead of the usual Danny Elfman score this one is provided by Howard Shore (Lord of the Rings), who brings a fun mix of sci-fi and conga room. Based on the book Nightmare of Ecstasy by Rudolph Grey, the script was written by the screenwriting duo of Scott Alexander and Larry Karaszewski (who were hot in the quirky bio business, also penning The People vs. Larry Flynt and Man on the Moon, as well as the Problem Child movies and TV series). Ed Wood marks the second of at least seven films Burton has made with Johnny Depp. And the casting of Depp at the time was really ingenious; who knew the pretty-boy had such creative chops? Depp wonderfully infuses Wood with an ah-shucks charm; everything seems to give Wood zeal. Always the optimist, Wood believes in everything, whether it’s his inept actors, sets, shots or his girlfriend’s sweaters--or the belief in the stardom of Lugosi who, at this point, was a heroin addict with failing health and is played beautifully by Martin Landau. When Wood sees Criswell (Jeffrey Jones), a TV psychic, make ridiculous predictions, he believes him. He spots Swedish wrestler Tor Johnson (George "The Animal" Steele) in the ring, and instantly sees a great actor. And these random people that Wood meets along the way and in whom he believes join him in his own dream of making movies, and in turn believe in him. It's a motley group that includes Bunny Breckinridge (Bill Murray), a homosexual in search of a sex change operation who is most memorable as The Ruler in Plan 9 from Outer Space, and eventually the horror show hostess Vampira (Lisa Marie), plus assorted goofy crew members. They forge an "Island of Misfit Toys" style family; think Wes Anderson without all the preciousness.Continue Reading
Thirty-something years later, the little Canadian gem Meatballs is still the quintessential rowdy summer camp movie. It’s one of those flicks that if you saw it for the first time as a kid you still love, while later generations may have a hard time getting into its '70s groove. In his first real post Saturday Night Live break out role, Bill Murray carries Meatballs as the camp's head counselor. He and director Reitman would go on a comic rampage with their next couple of films, dominating early '80s comedy. This was an era in movies when nerds were nerds, everyone just wanted to get laid, and sexual harassment was considered comedy not bad behavior. For my generation this was the film that made you fantasize about going to summer camp, an unfulfilled fantasy I still carry.
Meatballs goes for an Altman-like ensemble, splitting between the counselors and the young campers at Camp North Star. But two characters eventually become the main focal point, the goofy but charismatic head counselor, Tripper (Murray), and a wimpy first time camper, Rudy (Chris Makepeace who plays almost the exact same character a few years later in the equally memorable My Bodyguard). Most of the counselors and their love life issues are interchangeable, except for the often cruelly pathetic escapades of ultra nerd Spaz (Jack Blum) and his overweight buddy Larry Finkelstein (Keith Knight who later played a tough punk in Class Of 1984). Spaz’s goal is "scoring" but in a sweet moment he does find some satisfaction in holding a girl's hand.Continue Reading
After his ultra low-budget, indie caper comedy Bottle Rocket, director Wes Anderson (along with co-writer Owen Wilson) peaked with Rushmore, developing a formula and a brand that he has continued to hammer into the ground, with less and less success. But with Rushmore, the story of an eccentric high school underachiever and his relationship to the people around him, Anderson found the right level of quirk without going over the annoyance line and in the process made one of the best comedies of the '90s, a truly unique and special film.
In the teenage mind of Max Fischer (Jason Schwartzman), he’s a scholastic genius, admired by his classmates at his beloved upscale private school, The Rushmore Academy. But in truth he’s a below average student and not very liked by his peers. Max is a different kind of outcast than we usually find in teenage nerds. Instead of rebelling against the school, his goal is to fit in, but his grandiose ideas and belief in himself makes him stand out. His lower income also keeps him at a distance from his peers. Max’s gentle father (Seymour Cassel) is a low-key barber, but Max claims his old man is a brain surgeon. Also at odds with Max is the school’s headmaster (Brian Cox). Max’s enthusiasm seems to be a constant source of stress for him, including Max’s effort to keep Latin in the school’s curriculum, his ambitious school theater production of Serpico, and his efforts to build an on-campus aquarium in a bid to impress a lovely widowed teacher, Rosemary Cross (Olivia Williams).Continue Reading
The Royal Tenenbaums
Following his indie breakthrough Bottle Rocket and his critically acclaimed sophomore effort Rushmore, director Wes Anderson creates the most complete film of his career so far. Written by him and Owen Wilson, the script is top-notch, running the gamut of human emotion while finding the humor in its flaws. The characters are unique and complex, the cast is full of brilliant actors, and the film is directed beautifully.
Screen legend Gene Hackman (Unforgiven) plays the family’s patriarch, “Royal Tenebaum”-- a man of high intelligence but lacking in morals and scruples. A disgraced and disbarred lawyer, Royal dupes his family into believing he is dying of cancer in order to find his way back into their lives. Hackman is an actor who always delivers, but, in this, plays one of the most unique and hilarious characters in his very long and impressive career.Continue Reading