As you return to school and classes.
As you return to school and classes.
As you return to school and classes.
Starring Walter Matthau, Glenda Jackson, Sam Waterson and Ned Beatty, Hopscotch (1980) entertains with wry, sometimes corny humor and a clever cat and mouse plot. Matthau plays Kendig, a top CIA operative who bugs the big boss and plays by his own rules. Beatty plays the big boss who intends to place Kendig in a desk job till he retires. Kendig won’t have it. He shreds his personnel file and goes on the run. His first stop is to meet Isobel, his lover from way back when. There’s plenty of witty repartee between them. Isobel often plays the mother to Kendig’s naughty boy, but underneath her stern façade Isobel thoroughly enjoys Kendig’s antics.
Beatty plays Myerson, the consummate manager, who has no imagination and follows everything by the book. He’s certainly a stereotype, but as the movie hops along and a good clip, I didn’t mind. The film’s aim is to entertain, nothing more.
Sam Waterson plays Cutter, a fan of Kendig, who’ll take his mentor’s job and who’s sent to track down Kendig. Cutter admires Kendig and doesn’t feel Kendig deserves a desk, but he follows orders and hops around Europe and the U.S. trying to catch Kendig.
The ending provides a nice surprise, and though some of the dialog now seems stilted. It’s a shock that a few decades ago Hopscotch got an R rating. Now you’d hear the few profanities and see the little love scenes on TV during what was the “Family Hour.”
I liked how Kendig represented the experienced, skilled older professional who’s value is undervalued.
I’ve discovered a helpful YouTube channel for anyone with a computer that they want to use better or to fix. Focusing on Macs, Snazzy Labs offers helpful information to make using a computer more fun or efficient.
Check it out!
An amazingly powerful film, Army of Shadows shows the ordinary people joined the French Resistance and courageously opposed the Germans during WWII.
From the solemn beginning with German soldiers goose-stepping in front of the Arc de Triomphe to the bitter end, when . . . oh, I won’t say, Army of Shadows grabbed me.
After the opening sequence, we meet Gerbier, who’s sitting in the back of a German truck getting transported to a prison camp. Scenes of ordinariness follow. The truck driver makes a stop to pick up provisions from a farmer. Gerbier’s guard makes small talk to let Gerbier know he’s going to a “good” prison camp. At the camp, Gerbier is housed with two groups of prisoners, the first three amuse themselves with dominos and chit chat and seem to be and to have been men who just go with the flow. The other two prisoners are a young communist and a dying Catholic teacher. The division reflects French society, two groups, one that’s earnest and sickly and the other that’s lively, but superficial. Neither one gets much accomplished. Thus Gerbier sets his own course and doesn’t join either “side.” He’s the lone, strong, sensible man.
Gerbier is transported to the Nazi headquarters and manages to escape. Then as he meets the other members of the Resistance, we watch as Gerbier leads a plot to abduct and kill the young man, who betrayed the Resistance. ordinary people plan and organize what would be criminal acts they’d never undertake in ordinary circumstances.
All the actors deliver compelling performances. The story presents a fascinating look at history and was quite controversial when it was released in France in 1969. Critics were divided on the film because of its controversial portrayal of the Resistance fighters, who sometimes act like very intelligent gangsters.
What’s amazing about the film is how little action it contains. In certain instances there are chases and attacks, but that’s subordinate to the characters’ thinking, sacrifice and courage.
This film was so compelling that after I finished watching I started watching again, this time with the commentary running.
Based on a popular manga series, March Comes in Like a Lion and it’s sequel March Goes Out Like a Lamb takes viewers inside the world of shoji, Japanese chess.
Orphaned at 8 years old when a car accident kills his parents and sister, Rei Kiriyama is adopted by his father’s friend, who’s a competitive shoji player. The only way to get love or at least attention in the house is through shoji. Red soon proves to have a knack for the game, which is a mixed blessing because his adoptive sister and brother become hostile towards him when he beats them and they can’t take it.
Rei’s talent leads to his winning and becoming pro before he graduates high school. With his winnings he’s able to support himself and move out. Yet his evil step sister hounds him like a vicious ghost who won’t go away no matter where Rei tries to run.
Rei is soon taken in by three sisters who’ve lost their parents. The girls and their grandfather run a traditional sweet shop and provide the warm family life Rei craves.
The story does not require knowledge of the rules or ins and outs of shoji.I know nothing of the game, but did get caught up in the competition as Rei strives to dethrone the champion, an adulterous egotist that his stepsister has been dating.
A social critique of post WWII Japan, I Will Buy You shows how baseball became corrupted and how athletes became commodities in the 1950s. Directed by Masaki Kobayashi, I Will Buy You shows the machinations surrounding a college baseball superstar’s entry to pro sports. The story focuses on Kishimoto, a driven scout who’s hellbent on signing Kurita, a hot college hitter. To do this he needs to woo Kurita’s greedy family, his girlfriend who’s leery of the materialism that’s taken over Japan and finally his deceptive, self-centered mentor.
I Will Buy You is in the shomin-geki genre, which consists of dramas about the problems of ordinary society. Here Kobayashi takes on the world of Japan’s most cherished sport, baseball. (I had a student who insisted that the Japanese invented baseball.) Kobayashi brilliantly challenges viewers to see how calculating, conniving and avaricious it’s become.
People think the Japanese are oblique and indirect, but in I Will Buy You characters are explicit in what they want and how they feel about Kurita, who’s rarely on screen and he’s objectified like no other film character I can think of.
The film had a compelling story and covered sports in a way an American film wouldn’t. The end surprised me. With so many characters standing in the shadows, the masterful cinematography reminded me of film noir minus the murder or crime.
In The Founder, Michael Keaton plays Ray Kroc, who propelled McDonald’s to worldwide expansion. The film shows how a mediocre milk shake machine salesman discovered the McDonald brothers in California and coaxed them into teaming up with him after he saw their unique hamburger shop.
In the days of drive-ins, you’d have to wait and wait to to get your order. But the scientific McDonald brothers figured out how to choreograph flipping burgers so that you could get yours in minutes.
When Ray Kroc received an incredibly big order for his milkshake machines from the McDonald’s, he had to drive out to see what they were doing. Impressed, he cajoles them to let him sell franchises.
As he goes from one his first franchise in Des Plaines, Illinois, to selling billions of burgers, Kroc seems insecure propelled by canned optimism he’s memorized from Dale Carnegie’s books. From the start of the partnership, Kroc follows his own ideas even if it means going behind the McDonald’s backs. His prior failures made him pathetic but his disrespect for the McDonald’s brothers’ views made him unlikeable.
Since McDonald’s is synonymous with America, it’s a film worth seeing.
Truffaut offers a realistic look at infidelity in The Soft Skin (1964) where Pierre Lachenay, a publisher and scholar known from his TV appearances, gets obsessed with Nicole, a flight attendant, and starts an affair with her. Pierre has a sort of budding butterball look. He could be the Pillsbury Doughboy’s French father. He is smart, yet bland. He’s married to an attractive woman and they have a young daughter whom he dotes on. He doesn’t hate his life, but when he sees Nicole on a flight, he becomes smitten.
He later sees her at a hotel and follows her to find out her room. It’s a bit stalker-ish, but not quite. Nicole who’s probably half Pierre’s age is interested. She hasn’t experience romantic love and is in awe of Pierre’s success.
Throughout the film Pierre and Nicole have difficulty meeting up. Their rendezvous always go awry. Perhaps an old friend meets Pierre and asks to go for a drink. He’ll respond that he must drive back to Paris and the friend will say that’s where he wants to go and figures they can drive together. All the while Nicole’s twiddling her fingers back at the hotel where they’re staying. Such obstacles crop up again and again. Ever nervous, Pierre bungles along with his poor plans and lies. Yes, Nicole is young, beautiful and energetic, but having the affair is offset by the stress of lies and running around only to be thwarted.
Eventually Franca Pierre’s wife realizes something’s off. After awhile Franca gives up on the marriage and asks for a divorce. Freed, Pierre agrees, but he soon finds that breaking with Franca does not lead to bliss in a new posh apartment with Nicole.
The film is beautiful and Truffaut’s direction is sophisticated and engaging. He films intimacy in such a classy, real way. He shows affairs as they really are, not all romance, not all due to a horrible spouse. Infidelity certainly doesn’t lead to a blissful new romance and a break with past problems.