Based on the 1927 short story by Ernest Hemingway, The Killers is straight up film noir. Directed by Robert Siodmak, he film begins with two hit men entering a sleepy small town and terrorizing the staff at the dinner. When they find out where the “Old Swede” (Burt Lancaster) lives, they complete their job. The odd thing is the Old Swede expects and accepts his fate.”
Reardon, An insurance investigator, is called in to find the Swede’s beneficiary. As the investigation progresses we learn about the Swede’s life and how he went from a failing boxer, to a robber, and how his love for a femme fatal named Kitty (Ava Gardner) was his downfall.
The insurance company doesn’t see the worth of pursuing the Swede’s decline or the big heist of $250,000 as it will minimally impact the ledger balance, but Reardon persuades his boss for a few days leeway. The story mainly consists of flashbacks, which are taboo in Hollywood, at least according to most screenwriting books, but they work. Each old acquaintance or lady friend has insight into the Swede.
The Criterion Collection DVD comes with bonus commentaries and I recommend watching the one with award winning master writer, Stuart M. Kaminsky who explains the birth of film noir, which was brought over to the US from German directors who emigrated here and how the films got darker and darker with time. Then the New Wave French became enamored of the style and coined the term Film Noir. Kaminsky offers his insights into the success of the story and both the 1946 and 1964 film versions. The DVD set has both of these versions and next I’ll watch the 1964 film with Lee Marvin and Angie Dickinson.
Starring a young Paul Newman, Hud riveted me.
Lon Bannon’s mission is to track down his uncle Hud Bannon, who’s hot footing it out of his lover’s house just before her husband gets home. Lon’s got to bring his prodigal uncle home. A heifer has mysteriously died and grandpa, Homer Bannon, has called in the county vet, who soon confirms his worst fear the herd has foot and mouth disease. They’ll all have to be put down.
Straight-shooter Homer’s life work is about to be totally wiped out, yet his cavalier son Hud maintains his que sera sera attitude. Just when the family needs wisdom and prudence, Hud keeps carousing, sometimes with his teenage nephew in tow. Lon looks up to Hud, even though he can see his failings.
Father and son constant argue and judge each other, though Homer has more wisdom than Hud. Hud believes their conflict dates back to the night he got into a car accident that killed his beloved brother, Lon’s dad. Homer disagrees. That resentment has been buried, Homer insists. His contempt comes from Hud’s values, or lack of.
Patricia Neal plays a sharp-tonged housekeeper, whom both Hud and Lon admire.
Hud’s a compelling film that made me care about every character and the survival of the traditional family ranch.
Lost Girls resembles a made-for-TV-movie more than a feature film. Working class single mom, Mari Gilbert, played by Amy Ryan of The Office, tries to reach out to her estranged daughter. The girl goes missing and when numerous bodies are discovered in Long Island, Mari presses the police to find her daughter. The first officer in charge sees Gilbert as an annoyance. He’s got a smarmy demeanor and seems fishy. Gilbert’s only help is the Police Captain played by Gabriel Byrne, yet Gilbert doesn’t trust anyone.
Based on a true story, Lost Girls is a moving story, but there’s nothing that distinguishes it from say a Law and Order: SVU.
Seen at Sundance
I don’t know the director’s intent, but Cuties, a French coming-of-age film, was sad and disturbing. The heroine, 11 year old Amy has come to Paris with her mom and two younger siblings. Her mother is devastated to learn that her husband, who’s still back in Senegal, has chosen a second wife. It hits Amy hard, but her reaction is far more self-destructive than she knows.
At her new school, Amy becomes obsessed with joining a mean girls clique, who’re preparing to dance in an upcoming competition. That sounds a bit harmless, though sacrificing your self-respect to befriend people who mock, humiliate and hit you, is not a good choice. I cringed when the girls kick out their lowest status member and Amy strives to get accepted by a group of misguided, powerful jerks.
Amy and her new “friends” get way over their heads in social media and sexy dancing.
Continue reading “Cuties”
Steven Crowder offers a thorough review of Taylor Swift’s film Miss Americana. I saw this twice at the festival as it was shown twice where I was volunteering.
I just don’t follow Taylor Swift’s music as I’m of the era of The Who, The Beatles, The Rolling Stones, Pink Floyd, etc. I feel she sings for a younger fan. I did learn something about her life and saw how she presents a dazzling image on stage. Again, a highly produced, dazzling show doesn’t wow me. I’m content to see musicians in street clothes performing live to an audience that’s less than 100.
The documentary presents Taylor without much input from anyone else. I wish there were interviews with the music teachers or voice coaches and people who knew her when. Instead we see this young singer talking and talking to the camera giving her views on her life. During the post-film Q and A, where no audience questions were allowed, Taylor Swift said that she wanted to make a film that wasn’t propaganda. That comment verified my thought that this was a propaganda film. All the ideas came from the subject or were approved by her. She may be a wonderful person, but I’d like others to speak up and say so.
The documentary includes some early footage from her childhood and teens, but I was left wondering exactly who chose to make her records. Who gave her a break? No one succeeds without help and that’s not a bad thing necessarily. However, the film makes it seem that Taylor Swift’s success is solely due to her efforts. While she probably does work extremely hard, she has to have help from others. Also, it’s just more interesting to show different memories, different stories, and different perspectives.
Steven Crowder makes some excellent points about how Taylor probably has glossed on to some ideology without analyzing information, without comparing what her team tells her with other information sources. I agree that she has made some big mistakes in her thinking. Her 4th wave feminism hurts women and creates a straw man to vilify.
In short, this is a film for avid Taylor Swift fans, though they probably already know all this. I feel the film was a waste of my time.
Wim Wenders fascinated me with his Wings of Desire. This story of and angel, who wants to become human to experience human life is light on plot and on desire. Middle aged angel, Damiel slowly moves through Berlin, observing humans with compassion. At times he and his angel friend Cassiel do console or guard a frail human, but it’s with a light touch. Sometimes they succeed, but not always.
The film’s plot line is lax and the tone mellow. There’s no Hollywood hero with a high-level desire who speeds through the story facing obstacles till he wins in the end. Here a pensive angel wonders about humanity. A female trapeze artist catches his eye. He’d like to meet her, to woo her, but he lives in a different realm and faces few personal obstacles. Aristotle would have tightened things up, for sure.
The film, which was produced without a script, captures all manner of emotions and small experiences. It delights with beautiful images and no over-the-top special effects. The effects are made as they would be in the 1920s with the camera used to its utmost. We’re won over with simplicity and that was a joy.
The angels could change at will and it wasn’t hard to do so. Peter Falk plays an actor whom Dameil meets now and then. It turns out Falk’s character is a former angel so he mentors Damiel a bit. Again everything’s done with a light touch and Wings of Desire is as much an homage to old Berlin as it is a story of an angel.
I watched while listening to Wim Wenders’ commentary which included some discussion with Peter Falk. Wenders talks at length about how he can’t film with a script and how he prefers the uncertainty of taking an idea and creating the story day by day. I can’t imagine a studio today to allow such a thing. Also Wenders commented on sights featured in the film and how they’ve disappeared or changed. His love for Berlin was deep and lasting.
I could see people who expect the usual obstacles and the usual ending to a romance to be disappointed, but I was willing to take in the gorgeous images and see where the film would go. So few films meander as much that I felt I could indulge Wenders.
I was surprised that Katerine Hepburn could bore me. In Davide Lean’s Summertime (1955) she did. Hepburn plays Jane, an American secretary on her dream vacation in Venice. She’s dreamed of this trip for years and has a lot of energy and high expectations. Soon Jane’s pouting because her trip isn’t as idyllic as she hoped. She doesn’t have any horrible mishaps like getting robbed or sick so to me she just needed to look for some alternatives. Maybe she should go out for a day with the American couple who seemed a bit corny, maybe she should go to a different city or get a tour guide over the age of 10 instead of the urchin who looked about 6, had no shoes, spoke English better than a lot of Italian university students and who spoked cigarettes, which Jane gave him. (That was something you wouldn’t see today. Jane didn’t spoke on screen ever, but had a pack and bargained with this ragamuffin for.)
Jane does bump into an handsome Italian, Renato in the Saint Marco’s Square and the next day happens to go into Renato’s shop. There’s clearly some attraction, but Jane’s awfully standoffish despite her severe loneliness which makes it impossible to enjoy Italy.
About half of the film consists of Jane moping, which made it drag. Eventually, Renato pursues Jane, who soon discovers he’s married. At that revelation, Jane wants to end things, but she’s so lonely.
Jane had built this trip up in her mind so much that it was destined to disappoint. When she talks of home, it’s not as though she hates it. We’re not sure why she never married. She does mention going to a real ball as teen so she’s had opportunities for romance apparently.
Renato continues to pursue her and responds with pat answers to questions about his wife and children. Jane could do better. I hoped she’d end things with Renato.
All in all, I found the film dull despite Hepburn’s ability to be clever and energetic.
I just loved Charlie Chaplin’s The Circus. I’d never heard of this film, but recently saw that The Criterion Collection had just released it on DVD. In this 1928 film, The woebegone Tramp mistakenly gets caught up in a police chase for inadvertently taking a man’s wallet. The crazy chase that ensues leads to the Tramp bringing down the house as an accidental clown act at a circus.
This circus is run by a nasty, hothead Rimgmaster who continually abuses his lovely, innocent step-daughter. The Tramp soon falls for her and tries to be her savior, but she soon falls for a dapper tightrope walker.
Throughout the film we’re treated to marvelous scenes including a chase through a house of mirrors, accidental clown acts that have the audience laughing in the aisles, a scary standoff with a lion and a death-defying tightrope scene.
According to the commentary Chaplin didn’t like this film much because it was made at a time when his life was at a low point. His wife was divorcing him for his affair with the female lead, his mother was terribly sick. a storm destroyed most of his set and the tabloids where having a heyday gossiping about Chaplin’s personal life.
Nonetheless, The Circus is hilarious and often poignant. It entertains from start to finish. I’d say it deserves a place beside any of Chaplin’s classics from Modern Times, City Lights or any of his other more popular films.
I learned about Cover Girl from 4 Star Film Fan, here you can always discover wonderful film classics. Starring Rita Hayworth, Gene Kelly an, Eve Arden and Phil Silver, Cover Girl shows Hayworth as Rusty Parker, a captivating beauty and talented dancer who performs in her boyfriend, Danny McGuire’s Brooklyn club. Silver is a comic and the pair’s buddy. Rusty is down to earth but when she hears about a magazine contest she becomes curious about the big time.
Mix ups and show tunes ensue. Danny hopes Rusty will stay in Brooklyn. Briefly he stands in her way, but soon figures Rusty doesn’t really love him if she’s so impressed by the Manhattan set. Of course, Rusty wins the contest. It turns out that the sponsoring magazine is run by a man who fell in love with Rusty’s grandma, who turned him down, married an ordinary piano player and led a happy life.
The emotions were convincing. You hope that Danny will declare his love and that Rusty doesn’t settle for the high life rather than try love. I enjoyed the joking and friendly traditions Hayworth, Silver and Kelly’s characters share. Some numbers ran a little long, but the dancing was solid. I particularly enjoyed Kelly in a scene with his conscience who tries to advise him. You just don’t see such scenes carried off well nowadays.
Cover Girl’s a fun film well worth your time.
Part of a collection of Japanese noir films, Rusty Knife (1958) packs a punch. A relentless D.A. won’t give up on getting justice for a murder that was wrongly categorized as a suicide. He hunts down two reformed gangsters, who witnessed the murder as other yakuza (Japanese mobsters) killed a city official. One of the witnesses now owns a bar and has turned over a new leaf. However, the guilty and anger towards these gangsters who brutally raped and murdered his true love. As the D.A. urges him, the reformed gangster pursues the yakuza and seeks revenge.
The emotions run high and the plot has some great fight scenes. The plot offers plenty of surprises. I recommend this film and would certainly watch more of director Toshio Masuda’s films.