RUBY SPARKS (2012)

August 6, 2012

 Greetings again from the darkness. Well it took six years, but co-directors Jonathan Dayton and Valerie Faris finally deliver their follow-up to the smash hit Little Miss Sunshine. With a script from first time screenwriter Zoe Kazan (granddaughter of legendary director Elia Kazan), we get an odd mash-up of would-be Woody Allen, Charlie Kaufman, Stranger Than Fiction, and a “Twilight Zone” episode.

The story begins almost as a whimsical fantasy. Paul Dano plays Calvin, a blocked writer 10 years after writing the next great American novel, while he was still a teenager. The necessary comparisons to JD Salinger are made, and we witness Calvin as a socially-inept type who was never comfortable with his early success, and now can’t find a way to move on with life. Given a writing assignment by his shrink (Elliott Gould), Calvin discovers the true power of the written word is far beyond anything he had previously imagined.

 After a dream of meeting a lovely girl in the park, Calvin’s fingers tear through his manual typewriter and develop a story around his literal dream girl. And literal means literal. He runs into her downstairs. His creation has become his creation. Once he realizes they aren’t going to lock him away for insanity, Calvin and Ruby (also Zoe Kazan) begin a real relationship. Well as real as it can be with a girl who is not really real and whose actions can be changed simply by typing words on a page. If you think this sounds like a male fantasy, then you are in agreement with Calvin’s brother (Chris Messina).

 A trip to visit the brothers’ mothers (Annette Bening) and her boyfriend (Antonio Banderas) adds some humorous scenes while also signaling the beginning of trouble for Ruby and Calvin. It turns out that bringing your invented dream girl into the real world doesn’t always work so well. Who would have thought? There is much humor in the film including Steve Coogan as Calvin’s mentor. Deborah Ann Woll (“True Blood”) has a scene as Calvin’s ex-girlfriend and it is probably the best written scene in the film. Really good insight into how two people’s view of the same relationship can vary greatly.

 The story can be looked at from different perspectives. It certainly serves as insight into how a writer’s mind can work. Many writers need a muse … but few get to create their own! More importantly, it makes a statement on how we (well, not me) often try to control and manipulate the other person in our relationships. This is a sterling reminder to be careful what you ask for … you just might get it.

**Note: on a side note, it is refreshing to see a love story between two actors who look rather “normal” rather than so perfectly beautiful they appear to be a genetic experiment

SEE THIS MOVIE IF: you enjoy off-beat, quirky humor with an underlying message

SKIP THIS MOVIE IF: the last thing you wish to do is crawl inside the head of a Hollywood writer

watch the trailer:

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Posted by David Ferguson

KILLER JOE (2012)

August 5, 2012

 Greetings again from the darkness. Every so often there’s a movie that just defies description and leaves me at a loss for analysis. Initially I thought maybe I could come up with a comparison, but that has proved futile. It also falls short (but does set the tone) to imagine if David Lynch, John Waters and the Coen Brothers collaborated on a film. And then it hit me that really the most likely legacy for this movie is as a midnight movie favorite. A cult film if you will. It has the twisted humor and borderline caricature characters and enough wild scenes and bizarre lines of dialogue, that I believe the midnight crowd will embrace it wholeheartedly.

 The first surprise is that it’s directed by 76 year old William Friedkin, who is best known for his 1970’s classics The Exorcist and The French Connection. He even throws in a bit of a chase scene here just to remind of us of his timeless scene from the latter. The story is from playwright Tracy Letts who won a Pulitzer for “August: Osage County” (a film version coming soon). Mr. Letts took the inspiration of the story from a real cop in Florida, moved the setting to Texas for obvious reasons and then filmed in Louisiana for economical ones.

 The next surprise is Matthew McConaughey, who has made a career of playing Him-bo’s in farcical rom-coms that seem only to exist so he can be filmed without a shirt. Here, he plays the titular Killer Joe Cooper as a fastidious, meticulous detective who runs a murder-for-hire “business on the side”. Killer Joe has a couple of rules and demands that the details be just right before he agrees to a job. But then he bends his rules when he meets Dottie (Juno Temple), the virginal sister of Chris (Emile Hirsch) and daughter of Ansel (Thomas Haden Church). She becomes the retainer when father and son can’t come up with actual money for the job.

The best way to describe these people, including and especially Ansel’s second wife Sharla (Gena Gershon), is they are the epitome of trailer-park hicks who are not merely dysfunctional as a family, but even moreso as human beings. They barely have money to get by in life, but it’s spent on beer, cigarettes, fast food and horse racing. When a small drug deal goes bad, Chris (the scheming son) comes up with the idea of killing his mother (Ansel’s ex) to collect the insurance money. A touch of Double Indemnity thrown down by the Beverly Hillbillies.

 So hustler son and simpleton dad hire Killer Joe for the job. Think of the plan from Blood Simple, and now imagine it’s carried out by the cast of Dumb and Dumber. Things go awry when Joe meets Dottie. It brings out a side of him hidden by his smooth vocal manners and starched black exterior. A side best compared to the sadistic nature of Dennis Hopper in Blue Velvet.

No more details need be provided, just know that the story and the people are twisted and demented, and the violence and sexuality are the type that make a film tough to watch at times. That level of discomfort is assuaged by the laugh out loud moments offered by the dialogue, but merely leaves our brains desperately gasping for coherence.  Worth noting is the unique camera work is provided by veteran DP Caleb Deschanel (Zooey’s dad).

Clarence Carter’s “Strokin'” is fitting end punctuation for the film, and be warned that while I will never view canned pumpkin the same again, that pales in comparison to what Gena Gershon must now think of when someone offers her a piece of fried chicken.

watch the trailer:

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Posted by David Ferguson

THE DARK KNIGHT RISES (2012)

July 23, 2012

 Greetings again from the darkness. If you are a fan of the series, this is a sensational ending to the Christopher Nolan Batman trilogy. Though replicating Heath Ledger’s Joker is not possible, every other piece of this finale worked for me … and worked exceptionally well. There are critics who are nit-picking, saying that the story is muddled, the villain a letdown, run time too long, the first half is slow or the second half is too traditional in action. My challenge to these critics … name a better comic book hero film. For me, this is an incredibly entertaining and ambitious film that sets the standard for the genre.

 In addition to director Nolan, many of the familiar characters are back. Christian Bale as Bruce Wayne/Batman, Michael Caine as Alfred, Gary Oldman as Commissioner Gordon and Morgan Freeman as Lucius Fox. New to the series are Anne Hathaway as Selina Kyle/Catwoman, Joseph Gordon-Levitt as Officer Blake, Marion Cotillard as Miranda Tate, and best of all, Tom Hardy as Bane – the hulking masked monster wreaking havoc on Batman and Gotham.

 I will not go into any of the plot points other than to say this is the first time we have seen a villain who is at least Batman’s match physically and mentally. Bane is a wrecking ball with a general’s strategic skills and voice that is begging to impersonated by intoxicated males of all ages for years to come. There are a couple of twists that add much fun for the fans of the first two films, including a return appearance by a key member of Batman Begins. Also, Michael Caine is given a couple of wonderful scenes to prove he is more than a driver and butler.

Since this is Batman, the action scenes have to be analyzed. It should be noted that Batman is not on screen very often, but when he is, it is quite thrilling. We have new toys and weapons, and quite a bit of fisticuffs with Bane and Catwoman that compete with any of the giant firepower scenes.  One of the more fascinating sets is the prison based in a pit of despair that harkens back to Poe. This pit plays an important role in the past and present.  For those who were worried that Catwoman’s presence might take away from the aura of the movie, fear not. Ms. Hathaway creates an interesting duality that proves very interesting.

 Neither Mr. Nolan nor his DOP Wally Pfister are proponents of 3D (Thank Goodness!!), so instead we get treated to 50 minutes of actual 70mm IMAX footage. This means, if possible, you should catch this on an IMAX screen. I have seen it IMAX and XD, and while both are visually stunning, the IMAX is an overwhelming site at times.

The movie picks up 8 years after the ending of The Dark Knight. Harvey Dent is worshiped as a hero, and Bruce Wayne is a Howard Hughes type recluse – broken body and all. The initial aerial sequence is a fun start to a film that runs just under 3 hours. Of course, there is so much offered here that deserves comment, however, I believe the film is best watched with only the upfront primer of the first two films in the series. I will give nothing away here that might impact the joy of discovery during this gem. Contrary to some critics, I believe the story is fairly easy to follow and quite intense, thrilling and pure cinematic joy … including the thumping score from Hans Zimmer.

For those who claim there is a lack of humor … Exhibit #1: Hines Ward returning a kickoff for a TD. Come on, how long since he was fast enough for that??

Note: Though I haven’t addressed the Aurora shooting here, I did post a statement on the blog on July 20.

watch the trailer:

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Posted by David Ferguson

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:

1 Comment | Classics, Drama | Tagged: , , , , , | Permalink
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

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