TAKE THIS WALTZ (2012)

July 15, 2012

 Greetings again from the darkness. We have watched Sarah Polley grow up on screen. She began as a 6 year old child actress and evolved into an indie film favorite. Now, she is finding her true voice as a film director … and what a unique voice it is. In Away from Her (2009), she told the heartbreaking story of a husband’s struggle with losing his beloved wife to Alzheimer’s Disease. Now we get the story of Margot, who just can’t seem to find happiness or fulfillment within the stability of marriage.

Margot is played exceedingly well by Michelle Williams. I would say that without the casting of Ms. Williams, this film would probably not have worked. There is something about her that prevents us from turning on her character when she veers from her loyal, if a bit lacking in passion, husband Lou (played by Seth Rogen). Williams and Rogen have the little things that a marriage needs … a language until itself and the comfort of consistency. What Margot misses is the magic. She thinks she finds that in her neighbor Daniel, a rickshaw driver played by Luke Kirby. Daniel is the type that every guy inherently knows not to trust, yet women somehow fall for. He is a subtle and slow seducer. The kind that makes it seem like everything is innocent … right up until it isn’t.

Margot has that most annoying of spousal traits: she expects everyday to be like a trip to Disneyland. The best scene in the movie occurs when Lou’s sister (a terrific Sarah Silverman) confronts Margot and tells her that life has a gap and that you will go crazy trying to fill it. It’s a wonderfully insightful line from writer/director Polley. Of course, we understand that this is Margot’s nature and she learns that sometimes broken things can’t be fixed.

Another great scene occurs in the women’s locker room after water aerobics. There is a juxtaposition between generations of older women and younger ones. We see the differences not only in physical bodies, but in the wisdom that comes with age. More brilliance from the script. The one scene that I thought crossed the line was the “martini” scene. I found it tasteless, vulgar and far more extreme than what was called for at the time. But that’s a small complaint for an otherwise stellar script.

As terrific as Ms. Williams and Ms. Silverman are, I found Seth Rogen to be miscast and quite unbelievable as a dedicated cookbook-writing guy who has pretty simple, yet quietly deep thoughts about how a marriage should work. Again, this didn’t ruin the film for me, but I did find him distracting and quite an odd choice.

It’s filmmakers like Sarah Polley that keep the movie business evolving. Her viewpoint and thoughts are unique and inspirational, and should lead to a long career as a meaningful writer/director. Oh, and the use of Leonard Cohen‘s “Take this Waltz” song fit right in over the credits.

SEE THIS MOVIE IF: you are a fan of intimate indie films OR you want to follow the career build of Sarah Polley

SKIP THIS MOVIE IF: you prefer light-hearted Rom-Coms to thought-provoking relationship insights

watch the trailer:

 

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Posted by David Ferguson

A CLOCKWORK ORANGE (1971)

July 12, 2012

 Greetings again from the darkness. Director Stanley Kubrick only made 11 feature films, and there have been arguments made for all 11 to be considered cinematic classics. This one must surely be included with Spartacus, Dr Strangelove, 2001: A Space Odyssey, and The Shining as films that are safe and secure in movie history. Based on the novella from Anthony Burgess, the focus on Alex makes this an extremely disturbing and uncomfortable film to watch, even 41 years after original release.  Still, I couldn’t resist an opportunity to watch it one more time … with a full house on the big screen.

Malcolm McDowell is just terrific as Alex, the sadistic, remorseless, psychotic leader of a pack of hoodlums who terrorize innocents just for the sake of doing so. To emphasize Alex’s distorted view of society, Kubrick utilizes a wide-angle lens to show us his Point of View. There is much commentary in the film and most of it is quite obvious. One of the least discussed is the interaction of Alex and his “droogs”. When they tire of his relentless power-mongering and the lack of big scores from all of their criminal activity, we see how young thugs would handle such a situation.  Got milk?

 There is also much criticism directed at the British government and the world of psychiatry, especially mind-control. Kubrick obviously had extreme views on these topics as he went off-track from the source material to make his points in extreme fashion. The idea of moral choice being the distinguishing factor of a man could be debated, but seems logical when contrasted with the anti-violence rehabilitation system favored by the minister.

There are some fascinating visuals with the milk-plus bar, the artwork and wide-angle lens … especially when focused on Patrick Magee’s face during the rape scene. Also, the use of Ludwig van Beethoven to put Alex in the mood for “ultra-violence”, and then his subsequent song and dance to “Singin in the Rain”, show what the other side of music can mean to those not quite right in the head.  Don’t worry about missing some of the “droogs” dialogue.  They have a language of their own and it is based in Russian roots.  Michael Bates adds a touch of comedy relief as the over-bearing prison guard. His mannerisms are quite funny, yet somehow believable.

The film received four Oscar nominations including Best Picture and Best Director, though sadly, McDowell was not recognized. While there is much in the film that is difficult to watch, the brilliance of the material, script, acting and directing are a treat for movie lovers. One bit of trivia: that is David Prowse who plays the writer’s bodyguard. Mr. Prowse would go on to play Darth Vader in the Star Wars films.

not sure if this is an official teaser trailer, but it provides a taste without spoiling any scenes:

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Posted by David Ferguson

SAVAGES (2012)

July 12, 2012

 Greetings again from the darkness. I guess this qualifies as director Oliver Stone returning to his dark side. Based on Don Winslow‘s novel, it certainly has the foundation to be a complex, down-and-dirty, twisted plot, double-crossing, love triangle, ultra-violent, drug-dealing smörgåsbord. And while it possesses all of those elements, it still manages to come across as some slick Michael Mann cable TV project.

The film begins with narration from O (Blake Lively) who tells us that just because she is telling us this story, doesn’t mean she is alive at the end. Huh?? She also tells us that she is love with two drug-dealing buddies. Yes, both of them. Chon (Taylor Kitsch, John Carter) is the ex-Seal and muscle in the business. Ben (Aaron Johnson, Kick-Ass) is the gifted botanist who turns the magic Afghan seeds into the most potent pot in southern California. Oh, and Ben is also the ultimate philanthropist drug dealer. He builds schools in third world countries and invests in clean energy. After what felt like an eternity, the narration finally ended and I could stop yelling “Shut up, O” at the screen.

One day the boys receive a video via email. It’s an invitation to a business meeting with the Mexican Baja Drug cartel. Suffice to say that the video contained no balloons or party animals. It was more of a visual warning about what happens if you choose not to do business with them. The cartel front men are played by Demian Bichir (fresh off A Better Life) and Benecio Del Toro (MIA since The Wolfman). The queen of the cartel is Elena, played by Salma Hayek. Throw in a corrupt DEA agent, playing both sides against each other, portrayed by John Travolta, and all the pieces are in place for real fireworks once O is kidnapped (it’s in the trailer).

The rest of the movie is pretty much the war you would expect with some poor negotiation skills, torture and back-stabbing tossed in for fun. Overacting is the word of the day, especially from Travolta, Ms. Hayek and Emile Hirsch (money man). Still not sure what to make of Ms. Lively (The Town). The camera certainly loves her but it’s too early to tell if she has staying power as an actress. The only character that is really fun to watch is Lado, played by Del Toro. He is truly a frightening guy who also happens to have a deceptive mind on how to take over from the weak.

The whole good versus evil story line really only works if one side is good and one side is evil. If the good side (Ben) is a drug-dealer in a love triangle with his best friend, it’s much more difficult to muster empathy. Otherwise, when the necessary hostage/money exchanges occur, we really aren’t invested in the characters … and the action takes center stage. That’s the sign of a forgettable movie with no real heart.

SEE THIS MOVIE IF: you want to see beautiful people playing drug dealers OR you want to see Benecio Del Toro at his sleazy best

SKIP THIS MOVIE IF: you are expecting a gritty, down and dirty drug dealing drama with the political extremism we have come to expect from director Oliver Stone

watch the trailer:

 

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Posted by David Ferguson

BEASTS OF THE SOUTHERN WILD

July 8, 2012

 Greetings again from the darkness. So many movies take advantage of our expectations and have a basis of familiarity in everything from community to setting to character personality and reactions. Every so often a movie comes along that reminds us there really is no such thing as “typical”. People and communities are all different. Some are more different than others, but none I have witnessed come close to the Bathtub … a self-contained world on the “wrong” side of the levee.

This small community of folks are clearly poverty stricken by societal standards, but their ability to live off the land and support each other is a world that will fascinate, frighten and inspire you. Wink is not the warm-hearted single dad we are often spoon-fed by Hollywood. Instead he is a fierce protector and teacher of survival techniques to his equally fierce daughter Hushpuppy. She is a force of nature and displays a near-feral intensity that will leave you speechless.

There is no need for much detail here as this film is best experienced with little upfront knowledge. First time director Benh Zeitlin lives in New Orleans and co-wrote the screenplay with Lucy Alibar, whose one-act play the story is based. They wisely chose two non-professional actors as their leads, and both are stunning. Dwight Henry is a local pastry baker and family man, but you will struggle to believe that as you watch him fight the elements, time and a serious disease.

 As terrific as Mr. Henry is, the one who left me breathless was Quvenzhane Wallis as Hushpuppy. She is a six year old girl and hits the screen like no one you have ever seen. She is in-tune with the animals, nature and this wilderness life she is leading. Despite her internal strength, we are periodically reminded of the imagination and life-through-the-eyes of a 6 year old. A prime example is when she accidentally starts a fire, she immediately hides in a cardboard box assuming she is safe if she can’t see the flames. Just as quickly, Hushpuppy proves just how unusual she is as she stakes her claim in being remembered in the Bathtub long after she is gone.

**NOTE: it’s unusual to be talking about Oscars midway through the year, but young Ms. Wallis must receive consideration for this performance

SEE THIS MOVIE IF: you are a fan of independent filmmaking or take particular pleasure in unusual stories and characters

SKIP THIS MOVIE IF: light-hearted entertainment with precocious well-trained child actors is your preferred movie type

watch the trailer:

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Posted by David Ferguson

BRIEF ENCOUNTER (1945)

July 5, 2012

 Greetings again from the darkness. The Magnolia Theatre in Dallas included this one in its Summer Classic series and it drew a decent sized audience, even though the one-night-only showing was on the same evening as many of the local fireworks shows for Independence Day. If you are unfamiliar with this film, you should know that it garnered director David Lean his first of seven Oscar nominations. In contrast to this “little” film, Lean went on to direct such epics as The Bridge on the River Kwai, Lawrence of Arabia, and Doctor Zhivago.

Marital infidelity has long been a favorite topic in Hollywood … umm … I mean on screen. Rarely is it treated with such respect as it is here. The story is based on a short play from the great Noel Coward. With numerous scenes added for the film version, it never feels forced or over-written. What really makes this one standout is that the two lead characters are basically happily married people who just stumble into each other and a bond forms … despite their level-headed acknowledgments that it’s not a good idea.

 Laura (Celia Johnson) and Alec (Trevor Howard) are just going about their daily routines when circumstances bring them together at the hectic train station. We learn this in the opening scene (pictured left) through the internal-dialogue (narration) coming from Laura. See, the bulk of the movie is a flashback as we are really starting at the end. This opening scene is brilliant as we can all relate to the frustration Laura feels as her yappy, but well-meaning friend, unwittingly crashes the going-away party. We see the torture on the faces of Laura and Alec, but it takes the rest of the movie for us to get the full story.

 The setting of a train station adds a time-sensitive element to the rushed time together. While they bond through tea, food and movies, the train whistle is the reminder that the precious moments are at the mercy of a schedule that won’t allow for flexibility. This is no Meet-Cute of which films today seem to think is a required element. No, these are two real adults who have not before noticed an element missing in their lives. Perhaps Coward is saying that nothing must be missing for two kindred spirits to connect, but that the real choice continues to lie within each of us … loyalty, fidelity and judgment are on constant alert.

 It should be noted that Celia Johnson’s performance really carries the film. She was nominated for an Oscar and is just brilliant in her emotional roller coaster ride. Trevor Howard, a strong character actor, makes a terrific partner for her. They strike us as real people, not movie stars, caught in a real life dilemma. To prevent an over-wrought emotional wringing, we get the comedic balance of conductor Stanley Holloway and his flirtatious ways with prim and proper shopkeeper Joyce Carey. Their playful (yet similar) relationship counteracts the upper-crust complexity of Laura and Alec.

The film and its players offer up a few interesting side notes. Celia Johnson was not a fan of acting. She was seduced into playing the role after her friend Noel Coward personally read the script to her. Celia was married to Peter Fleming, older brother of Ian Fleming – he of James Bond fame. Noel Coward had a multi-faceted career that included playwright, actor, songwriter and singer, novelist and even director. Mr. Coward personally selected the Rachmaninoff piano concerto that so wonderfully accompanies the movie’s happenings. The bookstore shown in the film was later spun off from Boots Pharmacy, which only this year was purchased by Walgreens. Lastly, the film was originally banned in Ireland for showing marital infidelity in such a positive light. Though released in 1945, it wasn’t shown in the United States until 1946, thereby pushing the Oscar nominations to 1947.

** Note: don’t mistake the 1974 TV version featuring Richard Burton and Sophia Loren for this far superior David Lean version

watch the trailer:

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Posted by David Ferguson

SEEKING A FRIEND FOR THE END OF THE WORLD (2012)

July 2, 2012

Greetings again from the darkness. First time director Lorene Scafaria is best known for her wonderful script for Nick and Nora’s Infinite Playlist. Directing her own script here, we are left wondering if the gaps are in the writing or directing, but it’s clear Ms. Scafaria loves long titles. Matilda, a giant asteroid, is headed towards Earth and life will cease to exist in 3 weeks. Upon hearing this news, Dodge’s wife Linda (played by Steve Carell‘s real-life wife) takes off running away from him and supposedly into the arms of her secret love affair partner.

Dodge (Carell) has little reaction to the bailing of his wife or even to the impending Armageddon. In fact, he strikes us as the guy who has had little reaction to much in life and has no idea who he really is. While he does have some acquaintances and a predictably boring job at an insurance company, Dodge shows no inclination to join in the festivities of excess (drugs, sex, religion, riots) enjoyed by others, and instead offers up a lame, sure-to-fail suicide attempt to go with his droopy demeanor and overall lethargy.

It takes little time for Dodge to be saddled with an abandoned dog named Sorry and a crying neighbor named Penny (Keira Knightley). This part of the film is actually its best feature. We get the forced partnership of this odd couple and a road trip that allows for some interaction with others. The others include standout scenes with William Peterson, Bob Stephenson and TJ Miller (below, left, the host at Friendsy’s, a TGIF themed diner that devolves into a lovefest that neither Dodge nor Penny care to partake.

 The road trip does have the outline of a purpose. Dodge wants to re-connect with his high school sweetheart and Penny wants to get home to England in time to say goodbye to her parents. However, it’s pretty clear that the main reason for the road trip is to allow Dodge and Penny to fall in love. Just another apocalyptic rom-com.

I totally get the “opposites attract” approach, but I found Knightley to be far beyond quirky (John Cale and Leonard Cohen vinyl) and closer to her mentally unstable character in the first hour of A Dangerous Method. As for Dodge, he may be the nice guy that Penny sees, but mostly his life force hovers just above zero, while wearing sweaters that would fit right into Mr. Rodgers’ neighborhood. It’s not until he visits his estranged dad (Martin Sheen) that he shows signs of a pulse.  It’s kind of interesting to pay attention to the names in the film.  Dodge is ironic given what’s headed toward Earth.  Penny may or may not be lucky depending on your interpretation.  A survivalist named Speck, who doesn’t get that his preparations make no difference.  And, of course, a dog named Sorry.

2011 brought us two fascinating end-of-the world films in Melancholia and Another Earth.  This one avoids the manic depression of one or the science fiction of the other. While I never really bought into the heightened attraction of these two who miraculously become kindred spirits thanks to the time constraints, their relationship does provide fodder for thought. What would you do if you knew things were ending in 3 weeks? Would your true self finally make an appearance? If so, what are you waiting for? The message really is … our time is limited so don’t waste it.

SEE THIS MOVIE IF: you wouldn’t mind a little Herb Alpert with your apocalypse OR you need a primer in the greatness of vinyl records, even if the knowledge won’t help once the asteroid hits

SKIP THIS MOVIE IF: a hyper, twisted-faced Keira Knightley is not your ideal partner at the end regardless of the pristine condition of her John Cale and Leonard Cohen albums

watch the trailer:

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Posted by David Ferguson

COOL HAND LUKE (1967) revisited

June 21, 2012

 Greetings again from the darkness. Entirely too many years have passed since I last saw this movie, so when Cinemark included it in the summer classic film series, I was in my seat nice and early. Mention this movie and the first thing people do is quote one of the most famous lines in movie history: “What we’ve got here – is failure to communicate.” No question that’s a great line. But there is so much more to this movie and it holds up beautifully 45 years after release.

Based on the novel by Donn Pearce, who spent two years on a chain-gang, this is the story of Luke (Paul Newman) who just can’t bring himself to conform to the rules, regardless whether those be the rules of the military, society, prison, or self-imposed by his fellow convicts. We are introduced to Luke as he drunkenly cuts off the top of parking meters on main street of a small town. Later, in a throw away line, we learn he was gaining revenge on someone. It’s the clear indication that while he doesn’t always want to fit in, Luke clearly knows right from wrong.

 There are so many terrific scenes in this film, that it’s not possible to discuss each. Every scene with the prison warden, played by Strother Martin, is intense. Each of the Boss guards are frightening, especially Morgan Woodward as the sharpshooter behind the mirrored shades. There are numerous impactful scenes featuring the group of convicts. Even though we learn little about the individuals, we realize the fragile male psyche is on full display. Despite the power of all of these characters and scenes, the real strength of the film is the relationship between Luke and Dragline (George Kennedy). Watching the early cat and mouse game, and the subsequent transfer of power, we realize this is two amazing actors at the top of their game.

 George Kennedy rightfully won the Best Supporting Actor award and continued on to become one of the most successful and prolific character actors of the 70’s and 80’s, and his career culminated with his iconic role in the Naked Gun series. As for Paul Newman, this is one of his best performance in a long line of standout performances. This one is in the middle stage of his career and he exuded manliness with a touch of sensitivity. He and Strother Martin would meet again in one of the best sequences of Butch Cassidy and the Sundance Kid.

 Watching Luke win over all the convicts, including the previous leader played by Kennedy is stunning, yet gut-wrenching when offset by the scenes with the guards who are hell bent on getting Luke to understand his place. They understand the risk he poses to the systematic rhythms of the prison.  What no one seems to understand is Luke’s odd need for misery … he allows himself only moments of joy before lapsing back into some odd form of sacrifice. Study the famous egg scene.  50 eggs. 50 inmates.  The pain he endures and the scene ends with a crucifix pose. Now take that to the final few scenes that take place in the church. Luke is asking the questions, but he refuses to hear the answer.

 The supporting cast is downright incredible. This was the feature film debut for: Ralph Waite (4 years later he became the beloved paternal figure of TV’s “The Waltons”); Joe Don Baker (Buford Pusser from Walking Tall); James Gammon (later the crusty manager in Major League); and Anthony Zerbe, another iconic character actor of the 70’s and 80’s. Also featured are Dennis Hopper, Harry Dean Stanton (singing a few songs), Wayne Rogers (from “MASH”), Richard Davalos (James Dean’s brother Aron in East of Eden), and Rance Howard (Ron’s dad as the sheriff). In a brief, but truly great scene, Jo Van Fleet (also from East of Eden), appears as Arletta, and we quickly understand Luke’s background and inability to find himself.

Often overlooked by film historians, “Lucille” putting on a show for the convicts as she washes her car, is a scene that is meant for more than titillation. As she creatively buffs the windows, the reaction of the convicts reminds us that these are still men and no amount of humiliation and degradation can change that. One of my friends (Big E) argues that Joy Harmon was clearly cheated out of an Oscar for this scene.

The score is the handy work of Lalo Schifrin and expertly captures the moment … especially in the black tar scene. Director Stuart Rosenberg (working here with the great Conrad Hall) was known only for his TV work when he got this script. He went on to direct another prison movie in 1980 called Brubaker. Starring Newman’s Butch Cassidy co-star Robert Redford, the film was a decent prison drama, but not at the level of Cool Hand Luke … which by the way, was installed into the National Film Registry in 2005.

 

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Posted by David Ferguson

SAFETY NOT GUARANTEED (2012)

June 20, 2012

 Greetings again from the darkness. This one showed promise to deliver the rare, offbeat, genuine indie genius that those of us who spend entirely too much time in dark theatres live for. How many romantic-dramadies combine caustic comedy, elements of sci-fi, and are inspired by a real life newspaper ad? Not very darn many.

The set-up for the story is that Jeff (Jake Johnson), a Seattle magazine writer, suggests to his editor that the newspaper ad would make an interesting investigative report. To get a feel for the movie, reading the ad is essential:

WANTED: Someone to go back in time with me. This is not a joke. You’ll be paid after we get back. Must bring your own weapons. I have only done this once before. SAFETY NOT GUARANTEED.

 Jeff takes two interns on assignment with him: Darius (Aubrey Plaza, pictured left) and Arneau (Karan Soni). Darius is a sarcastic loner and recent college grad. Arneau is a virgin nerd who skates ever so close to an Indian stereotype. He is actually quite funny and easy to root for. Unknown to the interns, Jeff has ulterior motives for taking this job, and the bulk of the work will fall to them.

 Darius quickly tracks down and connects with Kenneth (Mark Duplass, pictured left). He seems quite committed to the time travel cause and is a bit skeptical of Darius. The Kenneth character can best be described as a NICE Dwight from “The Office”. He veers from the “normal” line, but has a heart of gold. Once Kenneth and Darius confess their reasons for going back in time, it’s clear to the viewers that these two share a rare DNA strand. Humor kicks in during their training sessions … of course, you need martial arts skills and the ability to shoot straight if you plan to time travel.

 The comedy and romance elements are complimented by undertones of regret, paranoia, loneliness and the desire to connect. These same tones play right into Jeff’s sub-plot. When he finds his high school crush (Jessica Bergere), she asks him about his life. His answer is limited to “Escalade and Condo”. She soon has him considering what else life can offer. Kenneth and Darius discover that trust is not a four letter word. Even Arneau finds out that human interaction can be better than a blazing fast laptop.

The results of the time travel plan aren’t really important, though it does play a role in the final act. As with the best movies, what really matters are the people. These are people we can relate to because they come across as real … not perfect, but real. As likable as the characters are, there still seemed to be something missing that prevented this film from reaching the next level. Maybe it has to do with first feature film director Colin Trevorrow or his writer Derek Connolly. The missing link is not easily identifiable, but it doesn’t prevent enjoyment.

SEE THIS MOVIE IF: you are a fan of quirky, offbeat indies OR you want to see rising stars Mark Duplass and Aubrey Plaza

SKIP THIS MOVIE IF: your idea of a time travel movie is more in line with Hot Tub Time Machine than a thoughtful indie flick

watch the trailer:

 

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Posted by David Ferguson

GRAND ILLUSION (La Grande Illusion, Fr, 1937)

June 15, 2012

 Greetings again from the darkness. Often cited as one of the all-time great films, I was fortunate enough to catch this one again in a limited theatrical release … a staggeringly beautiful and crisp print. The picture is so clear it looks new, and the updated subtitles make sense and are easy to read. As amazing as it looks, the real value is in the film itself.

Directed by the great Jean Renoir, the story takes place during WWI and shows a much different viewpoint than what we would normally expect from a war movie. But then, this is not really a war movie … or a POW movie … or a Political statement. The real core of this story is the respect and gentlemanly nature exhibited by the men from opposing sides of the war. It is a reminder that war itself is the grand illusion. We also see the results of class differences. When German pilot von Rauffenstein shoots down a couple of French planes, he tells the recovery team to “invite them to lunch” if they are officers. And then we see the similarities of the aristocratic officers as von Rauffenstein and Captain de Boeldieu discover their common bonds.

 The influence of this film is quite obvious in two scenes. The digging of the escape tunnel and subsequent emptying of pockets on the prison grounds were “borrowed” in The Great Escape. Also, the singing of “La Marseilles” to annoy the Germans was used quite effectively in Casablanca. We also see a quite daring bedside death scene with the pure admiration between opposing officers who decide dying in war is “a good way out” for their types. Powerful stuff. There is also much commentary on differences: aristocrats, working class, Jewish, Germans, and career soldiers. We even see cross-dressing (with a purpose) in a couple of scenes, one of which provides an unforgettable visual as the soldiers sing “It’s a Long Way to Tipperary”.

 As great as the movie is, the backstory is almost as fascinating. Released as WWII was brewing, it was one of the first things Goebbels seized when the Germans took France. The original negative was shipped to Berlin and presumed destroyed. However, it ended up in Russian archives and was re-discovered in the 1990’s. This was after Renoir (pictured left) had personally restored the film in the 1960’s from what was thought to be the best available copy. Unfortunately, he did not live to see this most recent restoration that brought the film back to it’s original glory. Renoir’s camera work is something to behold – subtle movements for extended shots. By the way, Jean Renoir is the son of the famous French Impressionist Pierre-Auguste Renoir. I believe they call that good genes.

 Silent film director Erich von Stroheim’s iconic turn as von Rauffenstein is truly movie magic. You will recognize von Stroheim as the man servant in Sunset Boulevard. Boeldieu is played by Pierre Fresnay, Marechal is played by Jean Gabin, and Rosenthal by Marcel Dalio. Marechal and Rosenthal have a remarkable segment at Elsa’s farm house. Elsa is played by the stunning Dita Parlo. This sequence provides a nice contrast to the POW portions of the film.

This work of art is now 75 years old. It is highly recommended that you see it at least once. Also, check out Renoir’s other masterpiece The Rules of the Game.

rather than the trailer, here is video of Jean Renoir himself introducing the first re-release:

 

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Posted by David Ferguson

MOONRISE KINGDOM (2012)

June 5, 2012

 Greetings again from the darkness. Not many people think like Wes Anderson. That’s probably a good thing in real life. It’s definitely a good thing for movies. He is a creative and distinct filmmaker, though not one with mass appeal. My two personal favorites of his are The Royal Tenenbaums and Rushmore. His previous film, Fantastic Mr Fox, was a solid hit and critically lauded. Now he delivers one that will probably only click with his core fans. It’s a thing of beauty … if you keep in mind that beauty is in the eye of the beholder.

Set on the fictional New Penzance Island off the coast of New England in 1965, the movie opens with terrific visuals of the Bishop family’s lighthouse/home. Our tour is conducted as if the home were a dollhouse, and our eyes struggle to keep up with the detailed decor. We are struck by the color palette of tans, greens and splashes of red. This will continue throughout the movie.

The story centers around two 12 year old misfits: Sam and Suzy. Sam is an orphan and outcast in his Khaki Scouts troop, and Suzy is misunderstood and ignored by her selfish parents, who communicate with a bullhorn and through legalese at bedtime (they are both lawyers). Sam and Suzy are attracted to each other’s misery and decide to run away together (yes, they are on an island). This ignites a flurry of activity on this quiet island and showcases two first time actors with remarkable screen presence: Jared Gilman (Sam) and Kara Hayward (Suzy).

 The “grown-ups” on the island include Suzy’s parents played by Bill Murray (a Wes Anderson regular) and Frances McDormand. The island police chief is played Bruce Willis, who we soon figure out is also a social outcast. The Scoutmaster is played by Edward Norton with a regimented weirdness that will have you laughing in confoundment. For such serious topics, Mr. Anderson and co-writer Roman Coppola provide us many comedic moments – both through dialogue and site gags.

During the search, other colorful supporting characters get involved. Social Services is pursuing Sam. Tilda Swinton plays Social Services. In one of the few gags I’ll give away, Swinton’s character only introduces herself as Social Services. This is a gut punch to a system that is often under-staffed and forgetful of it’s true mission. We also get Jason Schwartzman as a very helpful, though slightly seedy, Cousin Ben. Harvey Keitel plays the senior Scoutmaster who is unhappy with Norton for losing a scout. Bob Balaban makes periodic appearances as a narrator … either for a documentary or for the movie, depending on the moment’s need.

The script does a wonderful job of capturing how the 12 year old brain works. Some of the scenes with Sam and Suzy are almost like looking a photo album … exactly the way our childhood memory works. Flashes of moments. The Alexandre Desplat score is heavy on percussion, but it works well with the minimalistic look of the film. It’s also interesting to note that this is one of the few movies where it makes sense to have a soundtrack with Benjamin Britten, Hank Williams and Mozart! If you go to this one, keep your eyes open and moving, and your ears receptive. The payoff is worth it.

SEE THIS MOVIE IF: you are a devoted fan of Wes Anderson OR you are ready for an example of what makes indie films so intriguing to those of us who crave them

SKIP THIS MOVIE IF:  your movie preferences lean towards straightforward entertainment rather than off-beat dialogue from disturbed characters

watch the trailer:

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Posted by David Ferguson

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