Citizen Kane

Dir: Orson Welles, 1941. Starring: Orson Welles, Joseph Cotten, Everett Sloane, Agnes Moorehead. Classics.

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.

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Posted by:
Sean Sweeney
Sep 2, 2010 2:14pm

Compulsion (1959)

Dir: Richard Fleischer. Starring: Orson Welles, Diane Varsi, Dean Stockwell, Bradford Dillman. Classics.

The son of the legendary animator Max Fleischer, film director Richard Fleischer had a long and often successful career, but he produced an extremely mixed bag of work. It included the good (small thrillers like The Boston Strangler and the noir train flick Narrow Margin, as well as Disney’s big-budget 20,000 Leagues Under The Sea); the bad (Neil Diamond’s The Jazz Singer and countless other mediocrities); and the ugly (the over-produced musical Doctor Dolittle and the famously bad, 1969's Che!). The courtroom murder drama Compulsion is one of his more interesting films, maybe his best. In 1924 the real life thrill-kill murder of a fourteen-year-old suburban Chicago boy by college prodigies Leopold and Loeb stunned the nation. Represented by the most famous lawyer of his day, Clarence Darrow, their trial becomes the first "trial of the century" (later Darrow would also defend John T. Scopes of the "Scopes Monkey Trial" fame). Before Compulsion their story had inspired the gimmicky Hitchcock film Rope and, later, a number of films and plays, including Swoon and Funny Games which were also able to explore the two killers' potential sexual nature a little more in depth.

The writer, Meyer Levin, had attended the University of Chicago at the same time as Leopold and Loeb. Compulsion, his "non-fiction novel" (years before Capote coined the phrase) renamed all the players and was seen through the eyes of a school reporter, Sid (Levin himself?) and his innocent girlfriend. As adapted for the screen by Richard Murphy (Panic In The Streets), Artie Strauss (Bradford Dillman) and Judd Steiner (Dean Stockwell) are a pair of well off college brats with brilliant minds. Artie is the more outgoing, while the even more genius Judd is an introvert. They plan and almost pull off the "perfect crime," the murder of a young neighbor. Unfortunately, Judd leaves his glasses at the crime scene and Sid (Martin Milner) finds them. As the young men think they are toying with the cops using Nietzsche's superman theory, they slowly spins more webs, getting themselves in deeper and deeper, until finally the cops crack them.

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Posted by:
Sean Sweeney
Aug 9, 2010 6:31pm

Cradle Will Rock

Dir: Tim Robbins, 1999. Starring: Hank Azaria, Bill Murray, Ruben Blades, Joan Cusack, Susan Sarandon. Drama.

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…)

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Posted by:
Matt Messbarger
Jan 21, 2010 6:43pm

Make Way for Tomorrow

Dir: Leo McCarey, 1937. Starring: Victor Moore, Beulah Bondi, Fay Bainter. Classics.

One of the things I love about discovering old movies is finding something that seems well ahead of its time. It’s always revelatory to find cinematic evidence that not every film can be easily placed into an obvious time frame. Sometimes the writing or acting can just seem more modern than one would have thought for the era in which the film was released. Citizen Kane changed everything about what one could do with a movie and it looks even more incredible when viewed in comparison with the other films that were released at the same time.

Make Way for Tomorrow, in a modest kind of way, is such a film. It’s a family centered drama about a rather unremarkable situation and that alone is rather unique when compared with the kinds of historical epics and glamorous escapist fare that was the norm for what people expected when they went to the movies in 1937. It’s a film that has more in common with the films of, say, James L. Brooks than anything that was contemporary with the film. An elderly couple loses their home and each must move in with one of their adult children. Their separation and the agony it causes them are barely understood by their children with their own families who live in different parts of the country and seem entirely oblivious to the sadness the situation has caused their parents.

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Posted by:
Matt Messbarger
Aug 13, 2010 6:08pm

Overnight

Dirs: Tony Montana and Mark Brian Smith, 2003. Documentary.

The tough-minded vision of a master filmmaker fighting the odds to bring his vision to the screen has made for some truly memorable documentaries over the years. The almost mad mavericks Francis Ford Coppola directing Apocalypse Now in Hearts Of Darkness: A Filmmakers Apocalypse and Werner Herzog’s epic struggle to make Fitzcarraldo in Burden Of Dreams - the documentaries are almost as good as the films themselves. Another interesting film is Lost In La Mancha which chronicles Terry Gilliam's attempt to get the unbearable looking The Man Who Killed Don Quixote started and completed, the latter never happened. These are three men devoted to filmmaking with grand goals. The documentary Overnight is about another filmmaker, Troy Duffy, trying to get his first film, The Boondock Saints, made. Unfortunately for this maniacal egomaniac his visions are mostly about himself and how cool his sunglasses are.

Back in the '90s Harvey Weinstein and his film company, Miramax Pictures, were riding a wave of good fortune and good will after making an overnight sensation out of a video store clerk turned happening director/screenwriter, Quentin Tarantino. Suddenly everybody had a script ready to go and were ready to be discovered by Weinstein. Unfortunately, it also made Tarantino’s Reservoir Dogs and Pulp Fiction two of the most imitated films of their day. Hip dudes spewing cool dialog and then nonchalantly taking part in extreme violence and gunplay. (Does anyone want to sit through Things To Do In Denver When You're Dead, Very Bad Things, Love & A .45, The Salton Sea or 2 Days In The Valley again?) One of the worst Tarantino clones was The Boondock Saints. Overnight is the story of how The Boondock Saints' production was hot, then cold, and then barely got made.

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Posted by:
Sean Sweeney
Aug 4, 2010 11:40am

Prodigal Sons

Dir: Kimberly Reed, 2008. Starring Kimberly Reed, Carol McKerrow, Marc McKerrow. Gay Cinema.

Prodigal Sons tells the too-strange-to-be-fiction story of a family from Montana with some really fascinating problems. Daughter Kimberly used to be a man named Paul who was the star quarterback of his high school football team. Paul was popular and dated girls but he never felt comfortable in his skin. He moved away to San Francisco and, in the process of figuring out his gender identity, he decided to undergo gender reassignment surgery. Paul became Kimberly and decades beyond her former life she is, in many ways, a completely different person.

Now living in New York, working in media, and in a long-term lesbian relationship Kimberly decides to go back to Montana for her high school reunion. She makes a documentary about her trip and the reaction of her former schoolmates to her new identity. She will also reunite with her estranged brother, Marc, who was in the same graduating class. Marc has an interesting story in his own right, though the fascinating details don’t emerge until midway through the film. Marc is Kimberly’s adopted brother and though he is essentially a good person he is also a very troubled man with a violent temper and Kimberly is nervous about what it will be like to see him.

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Posted by:
Matt Messbarger
May 26, 2011 1:04pm

Touch of Evil

Dir: Orson Welles, 1958. Starring: Charlton Heston, Janet Leigh, Orson Welles. Film Noir/Classics.

Touch of Evil is one in a long list of artistic triumphs for Orson Welles that was scandalously treated as a failure from the “lost years” of his post-Citizen Kane free-fall of a film career. Nowadays the film has been accorded the status of an absolute crime film classic usually referred to as the last real film noir of the original cycle. But try telling that to the dumb dumbs at Universal who decided to ignore his 58 page memo on crucial edits to the film and instead cobbled together their own sanitized version of his deliriously sleazy border town saga—a baroque mixture of pulp noir and Shakespearian tragedy as only Welles could envision and execute. Touch of Evil was meant to be Welles’ Hollywood studio return to form after a decade spent in European exile chasing money to fund his mostly dead-ended film projects. But as with so many events in Welles’s Hollywood career the end result was a cold, stilted, even hostile reaction to his exhilarating achievement. He could never shake his reputation as the enfant terrible of tinsel town and this black cloud of notoriety had a habit of eventually destroying any opportunities that lay ahead of him no matter the evidence to the contrary that he generally worked on time and under budget.

Nothing seemed to dispel Welles’ legend as a colossal money and time waster. We might wonder why he got these deals in the first place if the studios were given to losing faith in him so predictably, but such is the enduring mystique behind the life and work of Orson Welles. He was the real deal, the consummate auteur whose technical and narrative innovations in film we have still not yet caught up to and perhaps because of this he was someone Hollywood was never going to trust. It’s not easy starting at the top of your game with a film like Citizen Kane—still generally considered the greatest film ever made and, as such, something he was never allowed to top. Though his outsized life left us with more questions than answers what we do have is his fascinating body of work or what’s left of it. The uncut version of the Magnificent Ambersons is lost to history courtesy of the malicious meddling of RKO and likewise The Lady From Shanghai will never be seen as he intended due to Harry Cohn’s celluloid butchery over at Columbia. His footage of Carnival in Brazil that he shot for the still unfinished documentary It’s All True is rotting in a studio vault as I write this. The list of legendary lost films goes on and on.

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Posted by:
Matt Messbarger
Mar 10, 2009 2:34pm
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