NORTH BY NORTHWEST (1959) revisited

July 19, 2012

 Greetings again from the darkness. It seems apropos that Hollywood’s first stylish thriller with tongue planted firmly in cheek should come from director Alfred Hitchcock. We get two of the most iconic scenes in one film: Cary Grant being targeted by a crop duster, and the chase across the faces of Mt Rushmore. That combined with the stellar writing of famed screenwriter Ernest Lehman (West Side Story, The Sound of Music) provide one of the all-time most entertaining and beloved thrillers.

Cary Grant plays Roger O Thornhill (the O stands for nothing), a Madison Avenue Advertising hotshot who gets mixed up in a wild case of mistaken identity that involves the CIA and an unnamed foreign intelligence agency. Spies who nab the wrong guy … there’s something funny about that, as long as you aren’t “the guy”. The story is tied into the Cold War, but really the fun part of the film involves watching Thornhill maneuver his way through the maze with very little assistance. Well, Eve Kendall (played by Eva Marie Saint) says she is helping, but it doesn’t take long to figure out that she’s no innocent bystander … what blonde is ever innocent in a Hitchcock film? The bad guy is Vandamm, played with true menace by James Mason (whose wonderfully creepy voice always made him a terrific villain). His henchman is a young Martin Landau, whose mannerisms will have you raising an eyebrow throughout. While many rave about the scenes with Grant and Ms. Saint, my favorites involve Grant and Mason. Two suave masters going at each other with verbal sparring that stands up more than 50 years later.

 This was Hitchcock’s only film for MGM, and I would argue it is his most visually stylish … clothing, set decorations and the beautiful scenery and camera work. Also, he makes his cameo very early here … just missing a city bus as the doors close in his face.  And of course, one can’t help notice the poor gray suit that Grant wears through most of the film. It looks fabulous on him, even after he crawls out of the corn fields. Mr. Grant may be the most elegant actor to ever grace the silver screen. He moves like a dancer and has the face of model. This is a true movie star. I have often stated that he mastered the confounded grimace and the quick, sly smile and built a career.

Bernard Herrmann delivered yet another perfect score and Lehman’s risqué’ (for the times) dialogue is especially fun in the train’s dining car. Finally getting to see this one on the big screen gave me a whole new appreciation for the crop dusting scene and Mt Rushmore. The scale of both segments is pure Hitchcock art. On a final note, there are so many character actors whom you will recognize throughout the film. Many went on to long careers in the 60’s and 70’s and even beyond. A true classic from the master.

**Note: Jessie Royce Landis plays Cary Grant’s mother in the film … actually, she was only 7 years older than Grant.

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

2012 – FIRST HALF RECAP

July 13, 2012

Greetings again from the darkness. The halfway point of 2012 has just passed, so it’s time to take note of any significant movies released between January and June.  This mid-year analysis is an annual feature because it’s so easy for first half films to be forgotten once the 4th quarter Oscar marketing campaigns start rolling. 

Beginning in late 2010, the experts were calling 2012 the year of the blockbuster thanks to the inordinate number of big name franchises, and many of those tentpoles are finding some success at the box office.   Unfortunately, as we have learned many times through the years, a big budget does not guarantee a rewarding movie experience.   A perfect example is Disney’s John Carter, which is among the biggest box office flops in history.  Since my focus is not on tickets sold, let’s discuss which of these early-in-the-year movies are really worth seeing.

By leaps and bounds (sorry), The Avengers is the runaway success of the first half. Not only did it play to packed theatres, but director Joss Whedon assembled (sorry again) a nice cast and an interesting script, delivering a very impressive comic book all-star action fest.  The Hunger Games seemed to satisfy its huge (mostly teenage) fan base, while sci-fi lovers were split over Ridley Scott’s Prometheus.   We also had a duel between Snow White films with Kristen Stewart’s version being superior to Julia Roberts’ cackling wicked queen.

Actually, independent films provided a wealth of entertainment across a wide variety of genres, including Moonrise Kingdom, the latest gem from Wes Anderson, who is now a genre unto himself.  Fortunately, my hometown of Dallas has a few theatre options for indie films, and I take advantage as often as possible.  For those who miss the limited theatrical releases of these films, they make really nice evenings for Netflix, Redbox, cable or streaming.

The most enjoyable part of my first half movie-going this year has been the number of classic films that I have taken in on the big screen. In 6 months, I have been treated to theatrical showings of thirteen movie classics including The Godfather I and II, Cool Hand Luke, Double Indemnity, and Wings (from 1927, the first Best Picture winner).  Though it’s an unfair comparison, it does bring light to the fact that I sit through many “non-classics” each year in the never-ending hope that the next one might be an instant classic at the level of one of the true greats.

Here is a breakdown of the first half of 2012 (each category is in alphabetical order):

HIGHLY RECOMMENDED:

The Avengers (the best and most fun action movie)

The Intouchables (an engaging indie from France)

Marley (best documentary so far)

Moonrise Kingdom (a gem from Wes Anderson)

RECOMMENDED MAINSTREAM:

Dark Shadows, The Grey, The Hunger Games, Prometheus, Ted*

RECOMMENDED INDIES and/or WORLD CINEMA:

Bernie, The Best Exotic Marigold Hotel, Footnote (Israel), Headhunters (Norway), My Way (Korea), The Kid with a Bike (Belgium), Safety Not Guaranteed, Salmon Fishing in the Yemen

CRINGE-INDUCING (not in a good way):

Carnage, Mirror Mirror, Rock of Ages, This Means War, Ted*

*Depending on your tastes, Ted fits into one of these two categories

 

Here is a quick PREVIEW of upcoming movies for the second half.  Get your popcorn ready:

Anna Karenina

(Keira Knightley in many costumes for Tolstoy classic )

The Bourne Legacy

(Jeremy Renner beats up people while Matt Damon rests)

The Campaign

(Will Farrell and Zack G run opposing political campaigns. Not a Documentary)

Cloud Atlas

(Tom Hanks and Wachowski bros, and Hugh Grant as a killer)

Cosmopolis

(more Cronenberg creepiness)

The Dark Knight Rises

(Batman by Nolan and Bales.  The End in IMAX)

Django Unchained

(Quentin Tarantino for Christmas)

Dredd

(futuristic, ultra-violent chaos … this time without Stallone)

The Expendables 2

(Action film sponsored by AARP)

Frankenweenie

(Tim Burton’s classic short had me in stitches)

Gangster Squad

(period mafia drama, great cast)

The Great Gatsby

(DiCaprio plays Redford… wait)

The Hobbit

(Tolkien by the creator of Lord of the Rings)

Hope Springs

(Meryl Streep and Tommy Lee Jones get marriage counseling )

Hyde Park on Hudson

(Bill Murray as FDR cheating on Eleanor. Surprise!)

Kathryn Bigelow’s unnamed film on the Bin Laden siege

(not a mystery or comedy)

Lawless

(bootlegging brothers battle corrupt authorities)

Les Miserables

(lots of sad songs from Wolverine, Catwoman, and Maximus)

Life of Pi

(another Ang Lee head-scratcher)

Lincoln

(Spielberg and Daniel Day-Lewis, no vampires)

Looper

(sci-fi with Bruce Willis playing  Joseph Gordon-Levitt and vise-versa)

The Master

(Philip Seymour Hoffman as L Ron Hubbard, no Cruise cameo)

On The Road

(Kerouac’s beatniks search for “It”)

The Paperboy

(Cusack on death row. McConaughey drawls)

Seven Psychopaths

(great title, cast, director)

Silver Linings 

(who is more nuts? David O Russell or Bradley Cooper)

Skyfall

(Bond, James Bond … plus Bardem!)

Taken 2

(more particular skills from Liam Neeson)

This is 40

(Judd Apatow and cronies laugh about getting older)

Total Recall

(sci-fi remake without Ah-nuld or Sharon Stone)

Twilight Saga: Breaking Dawn Part 2

(end of the road! Until the reboot)

GET YOUR POPCORN READY!!!

 

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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

THE AMAZING SPIDER-MAN (2012)

July 7, 2012

 Greetings again from the darkness. The big debate seems to be whether it is too soon for the Spider-Man franchise to be re-booted. It was just 10 years ago when Tobey Maguire first appeared as Spidey and a mere 5 years ago when director Sam Raimi delivered the last leg in his trilogy. Obviously the reason to re-boot starts with “doll” and ends with “ars”. It is more interesting to decide if this is an improvement over the previous series.

We must first look at Spider-man himself. Played here by Andrew Garfield, we get a more thoughtful Peter Parker and a more athletic Spidey version than we had with Maguire. As usual, my pet peeve is that Garfield is a 28 year old man cast as an 18 year old high school science nerd. Looking past that, Garfield manages to pull off the stunts without looking too much like a real super hero. So that’s a plus. Luckily for him, his scenes with Gwen Stacy (Emma Stone) work because Ms. Stone is such a super talent. She makes everything she is in, just a little bit better.

Next we look at the villain. Rhys Ifans plays scientist Dr Curt Connors, who transforms into Lizard in the quest to regenerate growth of his lost right arm. He was once partners with Peter’s dad in their research into reptilian genetics. While Doc Ock (Alfred Molina) from Spider-Man 2 is still my favorite villain in the series, it’s clear that Lizard is certainly capable of frightening the younger viewers, so parents beware. It should also be noted that Dr Curt Connors was played by Dylan Baker in the Sam Raimi trilogy.

 Lastly, we look at the story. This take is much more personal and provides detail to the backstory of Peter Parker. We learn how (but not exactly why) he lost his parents (Campbell Scott and Embeth Davidtz) and see how he came to be raised by Aunt May (Sally Field) and Uncle Ben (Martin Sheen). We see how Peter and Gwen Stacy come together and learn that she is every bit his equal intellectually, if not a notch above. Casting Dennis Leary as Gwen’s Police Chief dad works as Leary and Garfield exchange barbs at the table. Peter is still a photographer, but this time for the school instead of The Daily Bugle … whose logo makes an appearance on TV.

Director Marc Webb was somehow selected for this despite his only feature film being (500) Days of Summer … not exactly a film known for its CGI. Admittedly, the CGI used here is less rushed and cluttered than in previous Spidey films and many of the stunts look to be real stunts instead of the fake stuff. The closing credit cookie clearly sets up the sequel, though I can only guess that the shadowy figure is Norman Osborn. That’s still up for debate.

** NOTE: fear not, we get the now expected Stan Lee cameo

SEE THIS MOVIE IF: you are a fan of comic book heroes and simply enjoy the bigger than life films, even if it’s not at the level of The Avengers (it’s still better than Green Lantern)

SKIP THIS MOVIE IF: you are limiting yourself to one super hero movie this year … if so, make it The Dark Knight Rises

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

THE RULES OF THE GAME (La regle du jeu, FR, 1939)

July 4, 2012

 Greetings again from the darkness. What a thrill to see both of director Jean Renoir‘s masterpieces on the big screen within a couple of weeks of each other. The other is Grand Illusion and the two could not be less similar. In this film, Renoir presents a farcical display of societal “rules” of the time, and even draws a parallel between the upper crust and working class when it comes to love and lust.

The film was not well received upon its initial release because, times being as they were, very few enjoyed laughing at themselves. The film was seized by both the French government and later the Nazi’s. Both labeled the film dangerous to society. The original negatives of the film were destroyed and the film was pieced back together in the 1950’s and now, with technical advancements, we get to watch a beautiful print as Renoir intended. Today, however, it is quite fun to see how Renoir was poking and prodding and very precise with his aim.

 The story begins with the heroic landing of French aviator Andre Jurieux (Roland Toutain) after his solo trans-Atlantic flight. Once you realize this is 10 years after Lindbergh’s flight, you start to understand why the French were not pleased with the film. To make it worse, Jurieux acts like a teenager as he pouts in public when he realizes the woman he loves didn’t come to welcome him home. Nevermind that Christine (Nora Gregor) is married!

 Circumstances bring many to the country estate of Christine and her husband Robert de la Chesnaye (Marcel Dalio) for a hunting expedition. What we actually have is a gathering of wives, husbands, mistresses, lovers, house servants, and French ruling class in a tangled web that obviously influenced Robert Altman for his classic Gosford Park. Robert’s mistress (Mila Parely) is there and though Robert has promised Christine the affair is over, a wonderful scene finds her lowering binoculars to spot the two kissing in the distant. This leads Christine to be a more open to the advances of Andre the aviator.

 To bring in a bit more fun and action, we see the working class mirror the actions of their bosses. Lisette (Paulette Dubost) is married to the gamekeeper Schumaker (Gaston Modot) who doesn’t take kindly to poacher Marceau (Julien Carette) making advances on Lisette. During the shenanigan’s, Octave (Jean Renoir himself) alternates as both an entertaining clown/bear and peace-keeper to ensure that he is continued to be welcome into Robert’s home. He is a bit of a hanger-on.

 There is little plot per se, though we do get a surprising, erroneous murder, and that event brings even more unclear thinking to the group. The key to the film is the wonderful direction of Renoir. So much is going on simultaneously that your eyes must stay sharp and alert. Few directors of the time used such depth in the action … pay attention to the foreground and background or you’ll miss something! My favorite scene is when Robert unveils his latest find – a mechanical musical gadget (pictured left) that runs on precision. It’s in stark contrast to the party and the lives of these people.

** Note: Marcel Dalio and Julien Carette appear in both The Rules of the Game and Grand Illusion

watch the trailer:

Leave a Comment » | Comedy, World Cinema/Foreign | Tagged: , , , , | Permalink
Posted by David Ferguson

ANDY GRIFFITH remembered (1926-2012)

July 3, 2012

 It was announced today that Andy Griffith (1926-2012) had passed away.  Tributes that come too late are kind of sad, but it’s important to discuss what a multi-talented, beloved and influential performer he was for over 57 years.  Very few entertainers are talented enough and fortunate enough to have success in one category, much less many.  Andy (it just feels right to call him that) had success in comedy, with music, on Broadway, in movies, and of course, on TV.

 Thanks to syndication, most everyone recognizes him as Mayberry Sheriff Andy Taylor in “The Andy Griffith Show”, which ran from 1960-68.  Not only was the theme song iconic … you are probably whistling it now … but Andy taught life lessons to many of us through his folksy, down home wisdom.  He was a surrogate father for us as he taught his son Opie (played by Ron Howard, the successful movie director) right from wrong, and how to treat people.  Andy also recognized the comic greatness of Don Knotts’ Deputy Barney Fife (one of TV’s best ever characters), so he made the artistic decision to play the straight man as Knotts received the accolades.  The show (itself a spin-off from “Make Room for Daddy”) was responsible for numerous spin-offs and Griffith remained lifelong friends with both Howard and Knotts.  Howard is one of the few surviving actors from the show, along with Betty Lynn (Thelma Lou), Jim Nabors (Gomer), and Clint Howard (Ron’s brother).

The other TV show many know Andy from is “Matlock”, which ran from 1986-95.  He played the titular character, who was a colorful, folksy, frumpy old time attorney who had an amazing ability to win cases against all odds … all while sporting a wrinkled, sky-blue seersucker suit.  The ratings were huge as viewers embraced the man who seemed to have a knack for justice … doing the right thing.  Sound familiar? This persona is why Griffith was always so popular.  He made us believe we knew the real him … that’s an audience connection most performers never experience.

 What many don’t know is that Andy got his start with music and stand-up comedy on early TV shows like “The Steve Allen Show” and “The Ed Sullivan Show”.  His comic routine “What it was, was Football” was an early comedy classic and had success on the charts.  He also was a Tony nominated performer on Broadway for “No Time for Sergeants”.  He later reprised his role for the film version, and on the set is where he first met Don Knotts.  Griffith’s film debut was for A Face in the Crowd (1957, pictured left), directed by Elia Kazan (A Streetcar Named Desire, On the Waterfront, East of Eden).  Many who see this film for the first time are stunned at the Griffith performance.  The familiar folksy style that we immediately recognize, actually hides a power-mongering personality that was used to highlight the power and danger of TV, when used by the wrong people (still an issue all these years later). I believe TCM will include this film in its day of tribute to Andy Griffith later this month, so if you haven’t seen it, please give it a look.

 Andy Griffith once said that Sheriff Andy Taylor was “a better man than I am”.  This humble statement sells himself and his influence quite short.  Most of his career was spent playing characters whom we could trust and learn from.  We trusted him so much that when he told us everything tastes great on a Ritz cracker, we believed him… and sales spiked.  The ultimate test of a man is his loyalty to his friends.  Despite his own personal challenges, Griffith found his way clear across the country for one last visit with his friend Don Knotts, before Knotts passed away in 2006.  While it’s an unfair burden to place on anyone, I will remember Griffith as a very talented performer, but more importantly, as one who taught me some basic tenets in being a better man.

There were just too many classic scenes to choose from, so will close with this:

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Posted by David Ferguson

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