The more one understands about their culture the easier it is to recognize the arts and entertainment of their time. I had always enjoyed watching Gilda for reasons that couldn't exactly be pinpointed until now. There was the impression that it wasn't just her sultry and thrill-seeking ways, or her liberation. It was her libido, actually, and the unapologetic way that the principles behind the production code in movies were instigated. And with style that was most-impressive and done by the likes of Jean Louis, just as any other big budget wonder. It's as if post-Depression a few filmmakers were asking themselves an important question: “Why keep pretending the dark edges of life don't exist?” In asking, it is as though life was breathed into this thought and the result was Film Noir.
This isn't to say that the majority of films in that era were not of great wit and integrity. Surely the way that these restrictions were handled by the likes of Frank Capra, George Cukor, and Leo McCarey was masterful and deserving of adoration. The same can be said of the glitz of Busby Berkeley, providing a much-needed solace for a body of people who were in despair. Still, there are many things about Vidor's esteemed classic that place it far ahead of the others in terms of sophistication. This is due to how human and flawed the characters are and the fact that it's a splendid battle of the sexes. For anyone with experience or imagination in the matter, I assure you that it surpasses even some contemporary works.Continue Reading
In a Lonely Place
Humphrey Bogart remains to be remembered for characters with a lethal trigger finger and an equally lethal tongue. Films like The Maltese Falcon exemplify not only the height of his merits as an actor, but continue to be incomparable relics in the world of Noir.
Many of his works, most notably Casablanca, have an intrinsic outline - a gloomy skeleton harnessing unrequited love. Alas, they usually finish on a somewhat heroic note as the character must sacrifice his love with the understanding that his lifestyle simply has no place for it. One can only wonder how much of that resembled Bogart's experiences in life. He had four wives and a few fall outs with friends.Continue Reading
John Huston’s massive career as a director spanned almost fifty years (1941-1987) and it’s full of classics and misfires, ranging from the high of his genre masterpiece, The Maltese Falcon (his first in '41), to the bizarrely unwatchable psycho-thriller, Phobia, in '80 (starring Paul Michael Glaser!?). Today he is mostly revered for his WWII docs and some of his work with Humphrey Bogart (Falcon, Key Largo, The Treasure of The Sierra Madre and The African Queen), while The Asphalt Jungle, The Misfits, Under The Volcano, Prizzi’s Honor and many more have their champions. The main body of his work is mostly made up of imperfect but ambitious exercises in different styles, Moby Dick, Freud, Reflections in The Golden Eye being just a couple of examples. But without a doubt his mostly fascinating, not perfect, but utterly unique film might be his biography of the disfigured French artist Henri de Toulouse-Lautrec, Moulin Rouge. Released in '52, it's a sorta lost classic (not to be confused with Australian director Baz Luhmann’s hyperactive exercise in ear drum damage).
Respected Puerto Rican born actor José Ferrer, fresh off his Oscar winning performance in '50 for playing Cyrano de Bergerac, takes on the role of the painter who is remembered just as well for the childhood accident that stopped his legs from growing as he is for his post-impressionism painting of the seedier side of the decadence of Paris’s colorful nightclub world of dancers, outcasts and prostitutes at the Moulin Rouge. Filmed with a colorful “Technicolor” style to match the painting of Toulouse-Lautrec (with echoing tilted angles to match other '50s visionaries like Nicholas Ray), Huston and dynamic cinematographer Oswald Morris (Sleuth, Lolita, The Spy Who Came in From The Cold, etc. etc.) use every trick in the Wellesian book to tell their story (flashbacks, shooting through mirrors, every color carefully placed) and are aided by the vivid sets and costumes by Marcel Vertès, who won two Oscars for the film.Continue Reading
This is the perfect example of a movie that was made, almost exclusively, for a teenage male audience in the '80s. So as a woman there was really very little to help me empathize with the characters, even during the forced moments that are supposed to be either romantic or tender. However, something about its shameless voyeurism and the sensational amounts of uncalled for nudity make this movie special when compared to other '80s comedies like Animal House and Fast Times at Ridgemont High, which are more popular and deserve to be. Two Fast Times stars are in the film, including the ever-radiant Phoebe Cates and Ray Walston, who played Mr. Hand and stars, for too brief of time, as a limo driver in this movie. It is also Kathleen Wilhoite's film debut, and a favorite of mine in terms of the characters she's played thus far. The point I'm trying to make is that this movie's success as a comedy is not in delivery, or being able to laugh at something that has happened to you. On the contrary, the funniest part about the movie is its raunchy depiction of private school girls, teenage boys, and all the supposedly sex-deprived adults who surround them. Point being, you shouldn’t watch this movie to have some '80s flashback or be able to say, "…Yeah, something like that happened to me in high school." You should watch it because of its unrealistic chain of events and lack of substance.
It's senior year for all the girls at Cherryvale Academy, a posh all-girls boarding school in some forgettable city. Chris (Phoebe Cates) and her best friend Betsy (Kathleen Wilhoite) are both trying to lose their virginity to their boyfriends, who are also pals and attend the neighboring all-boys academy. Chris's boyfriend, Jim (Matthew Modine), is extremely handsome and sweet, while Betsy's boyfriend, Bubba (Michael Zorek), fits his name perfectly as the profusely sweaty fat kid who's the biggest pervert in his class. A reccurring source of comedy has to do with Bubba trying to avoid the deed and convincing Betsy that they've already done it, she just doesn’t remember on account of being drunk. Meanwhile, Chris and Jim have made plans to book a hotel for a weekend in order to show some class and spark romance for their first time. The only problem is that Chris's rival, Jordan (Betsy Russell), also has the hots for Jim and will do anything to get his attention. As the openly catty Jordan starts to pursue Jim, Chris and Betsy retaliate by trying to be one step ahead of her. The boys from the other school try desperately to infiltrate the girls' academy in order to either get a peak at all the naked chicks walking around the dormitory or see their girlfriends. This includes dressing in drag and scaling the wall on each other's shoulders, with Bubba on the top of their pathetic pyramid. Their trespassing complicates matters for Chris and Jim because it brings Jim one step closer to the devious Jordan.Continue Reading
Son of Saul
Any list of the most audacious feature film directing debuts would be headlined by Orson Welles’ Citizen Kane. Continuing on it would probably include John Huston’s The Maltese Falcon, Charles Laughton’s The Night of The Hunter, Alain Resnais’ Hiroshima, Mon Amour, Francois Truffaut’s The 400 Blows, Mike Nichols’ Who’s Afraid of Virginia Woolf?, Dennis Hopper’s Easy Rider, David Lynch’s Eraserhead, The Coen Brother’s Blood Simple and Quentin Tarantino’s Reservoir Dogs, and maybe even Mel Brooks’ The Producers, Peter Bogdanovich’s Targets and George Romero’s Night of the Living Dead. Only Laughton and Hopper did not go on to have major directing careers, but since their reputations were equally made as actors, they still fit on the list. Time will tell, but Hungarian director László Nemes’ debut, Son of Saul, the Academy Award winning for Best Foreign Film, one day may be included on said list. It’s certainly the very definition of audacious.
The Holocaust film does not usually inspire as fresh material. Since Spielberg’s masterpiece Schindler’s List in ’93, the most notable title would be the totally over-rated Life is Beautiful. The most embarrassing would be the Robin Williams opus Jakob the Liar, and maybe the best would have been the German film The Counterfeiters. That is until Son of Saul came along. Nemes’ film, which he co-wrote with Clara Royer, brings a totally fresh approach to the material. Though only covering a 24-hour period, this is a new side of the Holocaust I have never seen in a film before. Set in the Auschwitz concentration camp, the film, shot in mostly moving long takes, follows a Jewish-Hungarian prisoner, Saul Ausländer (Géza Röhrig, powerfully played, an actor and poet who had previously only appeared a couple of films in the '80s) who works cleaning up dead victims in a crematorium, hiding the burnt evidence of the mass murder that is taking place daily. He is constantly shoved around, if not by the Nazi guards, then by his fellow Jews, who scramble to stay alive with a sort of command pecking order. His life appears to be a daze of a nightmare, with constant suffering, trauma and the a wait to join the others in the ashes.Continue Reading
The Maltese Falcon
Like John Ford & John Wayne or Scorsese & De Niro, John Huston & Humphrey Bogart's work together as director and star will be forever linked in audiences' subconscious. After years of being a happening screenwriter, Huston got his chance to direct his own adaptation of Dashiell Hammett's crime novel, The Maltese Falcon. The film would help make Bogart a leading man, would lead to a 50-year career for Huston, and set the standard for detective films to come.
Like many detective and crime films of the 1940s, The Maltese Falcon is often improperly lumped in with the Film Noir genre. At best, The Maltese Falcon could be deemed a kick-starter to the genre that actually peaked in the post-WWII years. With the exception of a femme fatale or a detective it has little in common stylistically with the best of Film Noir (The Postman Always Rings Twice, Out Of The Past, etc.). That's not to say that the film (and the book) were not hugely influential, they were.Continue Reading