Although this probably isn't even the greatest scene in the film, it's just a great example of why Howard Hawks wasn't just a dialogue director. Although Hawks wasn't one for gimmicks, he does employ them throughout Scarface, but they are subtle throughout, with X's signalling murder (in this scene the bowling strike) and Tony' whistling before a murder.
What makes this scene extra special is that you have 3 actors who each went on to become massive stars Paul Muni, Boris Karloff and George Raft.
It was October 1994, after years of ill health following a debilitating stroke, that Burt Lancaster died. His death came within a year of the passing of his good friend and acrobat partner Nick Cravat.
After suffering injuries that cut short his circus career with Cravat, Burt Lang went to Hollywood to pursue a career in acting. He became an instant star at this very first attempt with The Killers, within a couple of years he was already one of the biggest stars in Hollywood and he began to have more creative control over his films. This creativeness included the casting of his old partner Nick in his films, where the two would showcase some of their acrobatic skills from their trapeze act.
By the late 50's Burt had become more than just a movie star, but also a refined actor. The great amount of sensitivity he brought to his role, as well as his male bravado and charisma, made him that all could admire. He would go on to make films with some of the greatest artists in both American and European cinema; such as John Frankenheimer, Luchino Visconti, Bernardo Bertolucci and Louis Malle. Not only a great actor, Burt was a staunch liberal throughout his life and he campaigned alongside Martin Luther King, James Baldwin, Marlon Brando, Charlton Heston and Harry Belafonte during the Civil Rights movement.
Below is a 15 minute tribute to Burt and his cinematic legacy:
D.W. Griffith is without doubt one of the most controversial directors in all of film history. It is, perhaps, due to the flagrantly racist tone of his films (mainly The Birth of a Nation); as well as the "God-fearing" themes in some of his films, that film scholars like to diminish his impact on cinema.
Admittedly his screenplays are steeped in melodrama due to the unyielding virtue of his protagonists. 'Way Down East' can't be excused of these same criticisms. At the same time, there is something in the story of a young woman tricked into a false marriage, before being spurned and tossed aside whilst pregnant, that still resonates with an audience today. Coupled together with Lillian Gish, who must surely be regarded as the one of the first and finest example of screen acting as an art form. Her innocent and pure performance, goes undiminished throughout the film, despite the fate that befalls her; but you always feel the underlying pain and anguish she feels through her guilty secret.
Richard Barthelmess is equally evocative as the admirer of the post traumatic Gish, who is at a loss as to his own rejection from Gish. You can sense the inner turmoil and tension between the two in the second half of the film. This translates superbly even today, with it's subtleties and feeling of unrequited love.
Unfortunately the same subtleties cannot be ascribed to the majority of the supporting cast; who are merely caricatures, whose indulgence only serve to add to the melodrama and aide Griffith's moral diatribe. That said, it is still a story that grips you, and there are more than obvious parallel's to Thomas Hardy's 'Tess of the D'Urbevilles', despite this being adapted from an entirely different stage play.
Like all Griffith work there a more than just a few glimpses of directorial genius. With 'Way Down East' he arguably exhibits the pièce de résistance of his entire career in the ice floe finale. It is to do it a disservice to call it "a feat of early film making", for it stands on it's own in terms of technical achievement and it's provocative images.
Lillian Gish lies afloat a sheet of ice after being overwhelmed by a blizzard; as she lays down the ice begins to break, and the ice-floe begins. Barthelmess sports her limp body flowing downstream and jump across the ice-floe in order to rescue her before an upcoming waterfall. It is 5 spectacular minutes of cinema at both it's most magnificent and it's purest, in this case both leads performed their own stunts and in an actual blizzard and on a real ice-floe. Lillian Gish would suffer from a couple of ailments, that were caused during the filming, for the rest of her life. (This entire scene can be viewed below)
Perhaps on paper 'Way Down East' isn't as ground breaking as 'The Birth of a Nation' or 'Intolerance'; but when taking into account the finale, as well as Gish's performance, it may be argued that it is in fact his most innovative film.
Greta Garbo has for sometime now being my favourite film star of all time; so it was extremely exciting earlier this year when the Academy of Motion Picture Arts and Sciences released footage of a rarely before seen screen test of Queen Christina photographed by William H. Daniels.
These tests are a sumptuous array of Garbo posing alongside moments where she is relaxed and at ease. Both in close up and long shot she looks radiant and pulchritudinous; and since their release in January we have an exciting exclusive from my friends at GarboForever.com.
Mark A. Vieira, author of some of the greatest photographic collection of some of my favourite stars, has provided some insight into the actual footage HERE . Please click the link to read more about these tests, especially interesting is the analysis from a photographic aspect. Hopefully there will be future "lost" footage of The Divine Woman (both Garbo and the film).
This is the finest example of why the internet is good.
This documentary will never be released on DVD or shown on television again.
This is because some faceless corporations who own the rights to some of the clips used are blocking it's release. They are not interested in the art and knowledge in which they own; things which aren't as tangiable like money.
They do not understand the wider picture that by showing this great documentary to a new audience they will garner more interest in the films rights in which they own. Kevin Brownlow has dedicated his life to the preservation and restoration of the world's greatest art form: Motion Picture. This is his reward.
This series, will eventually be pulled from Youtube, just like it has been on numerous other Youtube channels down the years.
There is also another issue concerning films made before 1940. A lot of films have been noted as "lost", but this is not strictly true. There are a lot of people in the world who have the original reels of these "lost" films, but refuse to donate them to film institutions as they need a financial incentive to do this.
I want to bring this to people's attention because there is a real risk that all this may one day be lost forever. Silent films is where movie magic was born and cinema is just as culturally significant as a Turner, a Renoir or a Titian.
Greta Garbo is perhaps the greatest star in cinematic history, and probably the most symbolic of both the Hollywood studio system and it's Golden Age. Her career in Hollywood started somewhat inauspiciously though, and it was only after 6 months of living there she appeared in her first film: Ibanez's Torrent.
It's quite clear from this film that MGM weren't quite sure how to present Garbo to the American audience, and here she plays a dark Spanish senorita. Though her regular, tragic onscreen persona of the fatalistic lover is apparent, he physical appearance is somewhere between Norma Shearer and Mary Pickford. Here she plays a young girl (Garbo) who, along with her father is evicted from her home by a cruel noblewoman, whose son (played by Ricardo Cortez) is in love with Garbo. She returns to the town and her estranged mother many years later, as a leading opera star who rekindles her romance with the noblewoman's son.
Cortez is notable in his resemblance to the late Rudolph Valentino, who had originally been slated for the lead role, before his shocking death in 1925. The overriding tragedy of the film's love theme takes it's toll of Cortez's characters physical appearance, whilst Garbo remains untarnished by the passage of time. Both leads work well on screen and ever together (in spite of the reported hatred of each other), there is also a well constructed flood in the middle of the film, that uses some noticeable trick photography, but is interesting nonetheless. Whilst Garbo lacks a somewhat original appearance physically, her unique style and technique is on show, and made the American audience somewhat intrigued by this new actress. It would be her third film Flesh and the Devil that cemented her status as Hollywood Goddess, but this first feature was a more than adequate film that ensured that she was noticed.
Before the Devil Knows You're Dead was the final feature film of legendary director Sidney Lumet. Made 50 years after his most lauded work 12 Angry Men, it is perhaps somewhat tragic that this director never won a Best Director Oscar, and only received 4 directing nominations in his illustrious career. Fittingly his final film is very atypical of Lumet, trying to still find new elements of style and technique despite his advancing years. It's also good to see such a talented cast involved, with Oscar winners Marisa Tomei and Philip Seymour Hoffman taking the leads and Ethan Hawke and stalwart Albert Finney in supporting roles.
This abundance of talent is unfortunately let down by some poor writing, which results in the movie itself being somewhat lost in what it's trying to achieve. Unlike the reputable crime thrillers Fargo and Pulp Fiction, this lacks any of the dark humour which should have suited this bungled crime flick. The disjointed editing and narrative of the film, also gets a bit irritating after a while, and a more structured style would have benefited this film.
Overall it's a film that falls flat and though you get the sense that in all the mess there is some brilliance; it is somewhat short of Lumet's masterpieces. It is however somewhat fulfilling as a fan of Lumet to see his final film, it serves as a reminder that Lumet was a risk taker and was a director always looking to find new ways of telling a story through the medium of film.
Paris, Texas was the 1984 Palme D'or winner at Cannes, and caused some stir amongst American critics who were left aggrieved that a film set in America had such a European cast and crew involved. It's a pretty superfluous criticism for a deeply thoughtful and well constructed film. Wim Wenders' direction is produces some quite profound images and shots throughout the movie, and adds more potency to American actor Sam Shepard's screenplay.
The movie is also blessed in having such a talented cast with Harry Dean Stanton as the man who turns up in the middle of the Mojave desert after a 4 year absence. It is left to his brother (Dean Stockwell) to come and help him retrace his lost life. Both Stockwell and Stanton have moments in the film that they must regard as career high points. There is also strong support from European actresses Aurore Clement and the incredibly beautiful Natassja Kinski, who is simply perfect as the estranged young wife. Hunter Carson also holds the story together well with an assured performance from someone so young.
Some may find the film laborious and the script occasionally veers off into indulgent tangents; but it's haunting beauty will leave the majority breathless. The films seems to act as a bridge of somewhere between the films of Terence Malick and that of the Coen Brothers' work. It's both a shame and surprising that this film isn't more highly regarded, as it is undoubtedly one of the cinematic high points of the often disregarded 80's.
Man of Steel was the latest superhero franchise to be reboot, this time off the success of writing duo David Goyer and Christopher Nolan (of the Dark Knight trilogy). This reboot shared similar themes and storyline to the first 2 Richard Donner movies from the 70's. This of course means a lot of comparisons are on show to be made. Whilst there are things to be admired by the direction the writers have taken, in trying to give Superman and Krypton a bit more of a back story, the direction and action sequences are a bit too much at times and there's an overriding sense that Superman is causing some innocent deaths in the collateral damage, which goes against his whole ethos.
As for the acting, there is a lot of talent on display, but for the most part noone really stands out as being particularly superior to their earlier counterparts. This is largely due to a very ropey script, full of clichés and things being oversimplified to the extent of patronising the audience; at one point a high ranking marine has to ask "what terraforming is?". I can't help thinking that the biggest sufferer of the script is Amy Adams as Lois Lane, who is undeniably one of the greatest actresses of our generation; but here she is reduced to throwaway lines that are supposed to represent her character's strength; but are enough to make a 2013 audience cower. Henry Cavill looks impressive as Superman, although at times is a bit too stoic in the role, which is surprising for a Nolan penned character. As for Russell Crowe, Michael Shannon and Kevin Costner, they are all very well suited to their roles, but it's hard not to favour Brando, Stamp and Glenn Ford from the originals. Diane Lane and Laurence Fishburne come across as slightly miscast in their roles and are nowhere near as natural as Jackie Cooper and Phyliss Thaxter.
It will no doubt appease those who are blinded by natural fandom, but for the average movie goer it is a let down, especially considering the talent involved and the natural comparison this production invokes. Whilst it packs more action than Singer's Superman Returns, it comes across as just as drawn out, and it is nowhere near a significant enough film to warrant the undoubted sequels that will follow.
Bette Davies is today remembered as one of the strongest women in film history; her uncompromising film persona is now legendary, however it may have been a different story had she not been released by Jack Warner to make Of Human Bondage.
It was a role that no Hollywood lead actress wanted for fear of reprisals from the Box Office, the cold and withering Mildred Rogers from Somerset Maugham's flagship novel. Bette Davies fought Warner hard to let her be released from her contract, as she took the risk for her breakout role. Whilst her English accent leaves a lot to be desired, as it becomes quite grating, her charisma and aura must have been something completely different for the audience of that era. Whilst they had the vamps of the 20s, there was always something redeeming about those characters. Here Davies leaves nothing for chance, and leaves it all out on the celluloid nitrate. It's very rare to have a performance that is both so totally unsympathetic, but also strangely charming, as you can't help but have respect for Davies as an actress. It is possibly this film that really gave a voice to the great film villains of cinema history.
The film isn't without it's flaws as the editing jumps through the story quite abruptly, and the script is sometimes ebbs, but Davies makes it something important. Leslie Howard is also quite endearing in his role as the vulnerable Philip Carey, despite being as wet as his character in Gone With The Wind. It's definitely a role that any aspiring actor or film historian should watch, for Davies alone.
J. J. Abrams performed a rare feat with his reboot of the Star Trek series back in 2009, by managing to make a film that appealed to both the traditional fans of the original series and broaden it's horizons amongst the average movie goer. His greatest achievements were both his ability to reboot the franchise using a far fetched but believable plot device that both didn't affect the past story lines, but also opened up brand new avenues for the new cast. His other success was manage to cast a group of actors to play the much revered characters of the original series so seamlessly. Credit must of course also go to the actors, whose interpretations of these stalwarts is both their own, yet in line with the characters the fans have grown up with.
The much anticipated sequel Star Trek: Into the Darkness reminds the audience just how good these actors are in these roles, as they ease back into the SS Enterprise. Naturally there is the addition of a new antagonist for this film, menacingly and flamboyantly played by the talented Benedict Cumberbatch, who portrays a subordinate terrorist from within Starfleet. The film again contains the action packed sequences, interspersed with the quieter moments to aid quieter development, and again these scenes are what make these films quite endearing. The film also again touches on past instalments of the franchise, which are well executed and act as nice pastiches for the more avid "Trekkie".
I think come the end of the film people will be satisfied with the end product, and this blockbuster will undoubtedly be one of the year's biggest earners. It isn't however without it's flaws, the main problem being the plot devices used to progress the story early on, don't seem to make sense come the end of the movie. It's this kind of sloppy written that ends up niggling the mind upon reflection, and one can't help but feel a bit frustrated. It is certainly enjoyable and an adequate sequel, but it falls both short of expectation based on both the previews and the fantastic previous installment.
Having watched a couple of previous Harold Lloyd films before, I went into The Freshman (aka College Days) and Why Worry? with a certain level of expectation. Both films paired Lloyd with one of his most famous leading ladies Jobyna Ralston whose first appearance on screen with Lloyd was in Why Worry?. The Freshman is really one of Lloyd's sweeter films with elements of it's predecessor Girl Shy in terms of themes and sentiment. Lloyd's character watches a movie about a popular College student, just before enrolling in college himself. When he arrives at college he tries to emulate his onscreen hero and is manipulated by his peers, who use him for their own amusement and freebies. Of course Lloyd is ignorant of their ulterior motives, and plays the hapless nerd to both great comedic and endearing effect. There are also some very amusing scenes continuously through the movie, not withstanding the way Lloyd's character introduces himself, which leads to a wonderful final scene that brings the film full circle. Why Worry? is even more hysterical than College Days though maybe lacking some of the consistency story wise. This time Lloyd's character plays a more aloof invalid, but is just as hapless, as he arrives in a warmer climate country to convalesce in the midst of a revolution. There are a few scenes in this that are nothing short of hilarious, and Lloyd's art is creating these great moments of comic relief with great build ups, that more than deliver on the anticipation. Despite not being as known as Lloyd's most revered work, Why Worry? suggests that I'm only just scratching the surface of Lloyd's prolific genius
Whilst Lloyd may lack some of the refinement of Chaplin, his character is up there with The Tramp and perhaps his slapstick is even more suited to today than some of Chaplin's.
Staying with the silent era, I also watched one of Hitchcock's earliest movies The Lodger. Set in London, as serial killer, known as 'The Avenger', is on the loose around London. Soon a mysterious man lodges with an elderly couple, where their daughter's policeman boyfriend, becomes suspicious of the stranger.
The film contains a lot of early trademarks from Hitchcock, and the methods of creating suspense appear early on in this film as 'The Avenger' rampages through London. When the stranger turns up in the boarding house, played by the multi-talented Ivor Novello, his behaviour begins to arouse suspicion.
The film is somewhat let down, by some overracting and substandard plot points, especially with the studio's control on how their star Novello was portrayed. Despite this it is a solid enough thriller, that probably owes it's preservation to the later success of Hitchcock.
Immortal Beloved is so far the only Hollywood production that has attempted to make a biopic of great composer Ludwig Van Beethoven's life. The story centres on Beethoven's close friend trying to identify the late composer's 'Immortal Beloved', who he wrote an infamous love letter to 20 years earlier. This technique of retroactively looking at the life of the movie's main protagonist, was of course most famously done in 1942's Citizen Kane, as well as the similarly themed Amadeus. Whilst this device is probably most suitable to this biopic, it feels a bit to close to it's predecessors and unfortunately makes it prone to unfavourable comparisons.
Understandably, the film centres mainly on the social side of Beethoven's life; but it's a shame that more isn't given to his great work composing. However there is plenty of airplay given to his music throughout the film, and all his most notable pieces are given their fair share of screen time, even if some Rossini does creep in at one point. The main highlight expectedly being his 'Ode to Joy', but this sequence acted as a microcosm for the movie as a whole, whilst enjoyable, it came across as a bit too disjointed and a slight anti-climax. Even Gary Oldman's performance was a slight let down, even though he portrayed the bitterness and inner turmoil of the great irony of this deaf composer's life; it wasn't quite up to the exceptionally high standards of the actor's other work.
All in all it's a film that will appease both fans of Beethoven and the average movie goer. However, neither of these demographics will be blown away by the film, and will still be anticipating a more grandiose biopic, befitting of arguably the greatest composer of them all. It's impossible not to compare it to Amadeus, which put simply was both superior in writing and direction.
Set in the later part of the 19th century The Magnificent Ambersons is probably the most controversial film of the 1940's due to the studio's treatment of the film. 50 minutes of the film was cut by RKO and the ending was changed, all whilst director Orson Welles was out of the country. Rumours have persisted since the film was release that Welles' original cut is still in existence somewhere in the world today.
Despite the heavily edited final version of the film, it remains an innovative stalwart, synonymous with Welles' technical genius. The film is ahead of it's time in style, it lacks the stoic style of it's contemporaries, and filming techniques such as soft focus when the narration runs, and the continuous rolling of film and movement of the camera through scenes help the naturalistic style of the film and indeed the performances of the actors. The overlapping dialogue also means that the film remains both sharp and omniscient. The film itself takes a cynical and biting look at this upper class American family, as hinted by the acerbic title of the film itself. It's a shame that such a sharp film, has lost possibly it's greatest moments on the cutting room floor. Thankfully there is enough that remains that is to be admired.
Firstly Welles' favourite Joseph Cotton is given the most pivotal role in the film, which is understandable as he is surely the finest actor amongst the cast members. Like the majority of his onscreen performances he manages to earn the sympathy of the audience as his character, like Welles', acts as the innovator; whose inventions are ignored by the snobbery of the narrow minded George Minafer (the youngest Amberson played by Tim Holt). The apprehensive nature of the upperclass families to new technology, meant that their lives passed over with their fortunes lost. This powerful message is at the films core and of course life imitated art with the film's financier's apprehension about the film's leading to heavy edits.
Another sense of the films commentary on progress, is the softly hinted aspects of modern development throughout the town as the audience passes through it fleetingly with the characters. The passages through time are perfectly represented through these developments, whilst the Amberson's residence remain traditional. In the middle of everything are two love stories between both Cotton's Eugene and George's Mother; as well as George's own courting of Eugene's daughter Lucy (Anne Baxter). Unfortunately, we only really have hints of the stark reality Welles' tried to present through his screenplay, and so the film lacks a bit of bite in places and is at times a bit too reliant on narration in glueing the story together. Whilst the performances are overall enhance by Welles' direction, Agnes Moorehead gives a mesmerising performance as George's hysterical aunt. The film's finale is where the studio's input can be heavily felt, and it cries out for Welles' original vision (although this ending is more in line with the book's); with only more hints and promise of how potent this story could have been.
It is a fascinating movie, that perhaps with a full restoration, would be remembered more fondly than Citizen Kane. Even as it is, it remains a profound piece of cinema that serves as another example of Welles' genius.
Pandora's Box was perhaps best remembered for Louise Brooks' unforgettable performance as the amoral young woman, whose promiscuity incites violence and betrayal amongst her admirers. Directed by the great expressionist directory Georg Wilhelm Pabst, he decided to combine to form two famous stage tragedies written by dramatist Frank Wedekind, whose lead character Lulu encompassed both plays.
Louise Brooks is both insatiable and insouciant in her role, and it is this combination that makes her the ultimate temptress. The provocative nature of the film, is made all the more stirring by Brooks' on screen candidness and it's easy to see how she inspired so many, and has remained such an icon of early cinema.
Despite Brooks' near perfect transposition as Lulu, the film ultimately lacks something other than her that makes it truly one of the greats. Though well written and directed, with the usual bleak and sombre tones of Pabst, it does at times tend to over elaborate on a situation, whereas a bit more editing would have served to make the movie more potent. It is nonetheless a movie that will surprise even today's audience with it's stark approach against it's contemporary social attitudes.
Maybe more provocative than Pandora's Box, albeit a bit less subversive, has to be Lon Chaney's turn as The Phantom of the Opera. A story by Gaston Leroux that has achieved many adaptations of the years, and probably most known today in the form of Andrew Lloyd Webber's musical. The musical has never much interested me, however the story has and I was very pleased to obtain a copy of this silent version. Apparently there have been various editions of this film that are both admired and maligned in equal measures. Based on my experience, the version I watched had to be definitive.
Lon Chaney had already built up quite a reputation as the master of disguise, not least for his performance as The Hunchback of Notre Dame. Chaney manages to conjure and even more grotesque appearance with his Phantom, not only that but an even greater characterisation of his subject. It is quite remarkable just how evocative his performance manages to be despite that lack of sound. His soul is as haunted as the Opera house itself, as he yearns for the love of young singer Christine played by the pretty and sweet Mary Philbin.
Alongside the more emotive elements of the film are some great action sequences, but the most striking aspect of this film are the set pieces. The opera house itself defines Hollywood Gothic, it's is vast and flamboyant, and has probably inspired every film of it's ilk since. Some of the scenes are profound in their beauty and style that you have to question "is this film really nearly 90 years old?". Perhaps the most striking scene is the now infamous Masque ball sequence, the only part of the picture film in two-toned Technicolour.
Both this and The Hunchback of Notre Dame are regarded as the first Hollywood horrors ever made. Their title is much owed to the masterful performances of Lon Chaney, who simply exudes both charisma and eeriness in abundance. Phantom of the Opera ranks up there with the finest horrors I've ever seen and it is also one of the greatest films of the silent era.
Two films based on the L. Frank Baum classic The Wizard of Oz, the first of which was the very first film attempt of adapting the book the book for the screen. It was a single reel version called The Wonderful Wizard of Oz, filmed in 1910, and despite it's 13 minute length, featured the majority of the key plot points from the infamous 1939 adaptation. It also featured Bebe Daniels in the role of Dorothy, a star who would late enjoy modest success in the first golden era of Hollywood; also cast was Robert Z. Leonard in the role of the scarecrow, who himself would later go on to be MGM's most prolific directors.
The second film was The Patchwork Girl of Oz, which boasted a screenplay from L. Frank Baum himself, having written the novel the previous year (the seventh book of the Oz franchise). This was a feature length film, that introduced a wealth of new characters from the land of Oz to the consciousness and sidelined the Scarecrow and Tin Man to more minor roles. It must also be noted that L. Frank Baum had by this point started his own film studio and a lot of these characters were introduced and included in a collection of films around this period to help make his films more marketable. The Patchwork Girl of Oz told the story of a hungry munchkin boy and his uncle who journey to the Emerald City for a more prosperous life. Along their journey they meet a lot of strange and interesting characters, including a Magician and his wife, who quickly conjure a patchwork girl to help with chores. However she accidentally turns some other Oz residents into statues, and several parties disband to try to find the antidote.
Though both films are very primitive, they do offer some interesting early filming techniques as well as some trick photography that is bound to please anyone truly interested in the evolution of cinema. However what lets both films down is the somewhat messy screenplay and narratives, especially for The Patchwork Girl of Oz, which plot seems to drag out over the 80 minute course. I also think that the characters simply aren't as good as the traditional Oz protagonists, and come across as rather convoluted; and if released today would be cynically accused of being profiteering mechanisms. The Wonderful Wizard of Oz (below), does at least benefit from having the more expansive 1939 version to reflect from, and therefore offers a bit more in the way of charm. As well as having a largely more succinct plot and length to it. It's also interesting, and maybe not all too surprising to see the acting in these early silents to come across as very vaudevillian, and is no where near as refined as even the acting just 10 years later.
As a time piece though both films offer a fascinating insight into film during the early silent era, and though maybe these films are only prominent today due to their association with their subject matter, rather than their technical achievements; they do create enough intrigue for one to watch more of the output from the early film industry. However, it's also easy to see how quickly cinema developed in the subsequent few years that followed these films.
It's fair to say that in the past I've thought Burt Lancaster a decent actor, who was prone to trying too hard. In The Leopard however, none of this effort is in vain as he manages to deliver one of his most emphatic performances, which must surely go down as his most glorious on screen performance. Here he plays the effervescent Scicilian aristocrat who, as patriarch of his family, tries to maintain his status in society, during the political and social upheavals of the 1860's.
Not only is Burt Lancaster superb in terms of acting in this role, his good looks also shine despite middle age; and his piercing blue eyes have never looked sharper. The beauty is even greater in his co-stars Alain Delon and Claudia Cardinale, who are possibly cinema's most beautiful on screen couple. These three players are the perfect physical compliment to Visconti's endurable vision of both Scicilian landscape and life. Days of Heaven maybe one of the most photogenic films ever, but The Leopard is a sheer work of art. Each shot is as majestic as a work by Titian or Vermeer, and the movement of the camera ensures there is much for the audience to consume. Visconti's attention to detail is insurmountable, and it's evident that he ensured every piece of fabric, prop and costume was to a perfect standard before rolling the cameras.
The film itself provides a rich character study of all the characters involved. Though some may criticise the pacing and lack of action within the story, one can only sit back and admire the patience of this meticulous director who's left nothing to chance. Every pause, silence and stillness adds an extra layer to the depth of the story and the characters. Each subtle movement is somehow magnified tenfold because of these techniques.
Admittedly there possibly isn't enough as a story that propels this film amongst the very greatest of Italian cinema; but it is arguably the closest to aesthetic perfection in film history.
Torrid Zone marked the penultimate film partnership of lifelong James Cagney and Pat O'Brien (their final film together was 1981's Ragtime). Set in a central American banana plantation, where a local convict is stirring up unrest amongst the local workers, and the plantation's owner (Pat O'Brien) has to persuade his own foreman (James Cagney) not to leave in order to deal with the trouble. Ann Sheridan plays the American cabaret singer who acts as the main love interest in the film.
Here Cagney perhaps lacks some of the electricity of his gangster films, but his naturalistic style is still on show, and is always a pleasure to watch. The wisecracks amongst the casts are quite sharp and are what keep this film from being forgettable. Unfortunately the screenplay really lets the film down, and it ends up not really going anywhere. This was my first Ann Sheridan film and though her butch wisecracking style isn't to my taste, it manages to work here, and her "oomph" girl status is also evident. A fun film, that lacks anything that sets it apart from other contemporary studio films.
It's funny how a film sometimes acts as an allegory to that of the actors involved. The Incredible Burt Wonderstone certainly contains traces of this, as Jim Carrey stars in this film with Steve Carell as a fading stage magician who is being out performed by a new street magician (Carrey). It's fair to say that Jim Carrey's box office clout has been diminishing noticeably across the last 10 years. Perhaps his physical and over-the-top style isn't to everyone's taste, but I think his performance in Burt Wonderstone only underlined the gap in the market for his style of comedy.
Perhaps The Incredible Burt Wonderstone will be a box-office failure, and perhaps it isn't going to set critics alight. However, it is quite refreshing to see comedies like this being made, when there seem to be a wider market at the moment for seedier and more vulgar comedy. Not that I don't enjoy some of these more modern styles; however, I think that performers such as Carell and Carrey are more naturally funny, and though they do dabble on the seedier side of the line from time to time, more often than not there is a lot of heart to their styles. The film does contain a lot of solid comedy and good laughs, but at times Carell does seem a bit lackadaisical, as if he's simply going through the motions. Carrey however is hilarious as "brain rapist" magician Steve Gray, and he really does dominate the film, whenever he's on screen. Alan Arkin also has a wonderful role that provides the more heartfelt moments of the films, and for the most part the sentiment really works and you get a sense of what magic means to the characters involved. Maybe Olivia Wilde is miscast as a nerdy magician wannabe, but she is has a few funny moments in the film early on; and Buscemi doesn't really add anything to the film, but is always pleasing to watch. Like many films of this ilk, it follows the same formula of protagonist having to lose everything and rediscover what he had before redeeming themselves. However in this instance it was a journey worth taking.
Maybe I've been a bit defensive whilst review this film, but I think it's a shame that comedies like this struggle these days. The film isn't one that you will watch with repeated viewings, but it is both enjoyable and at times touching and serves as a great reminder of the talents of Jim Carrey.
The Contender was a political thriller, that shows us the perception of integrity amongst the political elite and public in Washington. Joan Allen plays the vice presidential candidate chosen by Jeff Bridges' President to join him in his incumbent campaign for another term. Her nomination comes under threat as sordid revelations of her past come under scrutiny; and her position is further manipulated by her political rivals.
The film really works in highlighting the heightened scrutiny that a person's sex is subject too in political office, and how politicians really have to struggle to maintain any privacy as well as integrity whilst in public office. Joan Allen works well in the this role, and the real beauty of the way this film is written is that your opinion and perception of her character changes throughout the movie; as with the other characters in the film. There's also support from Christian Slater, a moustache-less but charasmatic Sam Elliot and the great Gary Oldman, who gives another convincing performance despite the somewhat questionable make-up.
Though perhaps some elements may come across as a bit dated, and the righteousness is a bit overwrought towards the end, this film does provide a great commentary on modern politics. It's a film that can't really be described as satire, because it seems so real at times, which is a credit to the writing. The film has become very overlooked since it's release, and despite it's flaws it's definitely worth a watch.
There are films that I sometimes just never get round to seeing, despite all the hype and recommendations I receive in regards to it. Midnight Express was one such film that I had heard much about, but had never got round to seeing it, until now...
Simply put, this is without doubt one of the greatest prison movies of all time, and there have been many. Based on the true story of Billy Hayes, caught trying to smuggle drugs out of Turkey, and his subsequent jailing and treatment in a Turkish prison. Directed by Alan Parker, the film starts off in fascinating form, as we see Billy strapping the drugs to his body, and then passing through the customs checkpoint as he tries to board the plane with his girlfriend. Giorgio Moredor's score really adds to the suspense and it is just the first of many brilliant orchestrated 'heart in mouth' moments spread across the film. Once in prison Billy (played magnificently by the late Brad Davis) is subjected to a series of brutal punishments and attacks by the Turkish prison warden and guards. He soon befriends fellow inmates played by Randy Quaid, Norbert Weisser and John Hurt, who gives undoubtedly one of his greatest ever on screen performances. Though the inmates remain sceptical or fellow prisoner Rifki, who acts as an informant to the guards.
The film's real strength if the level of emotion it manages to conjure, and it doesn't do it through cheap manipulation or superficial means. Though undoubtedly some of the story has conceded to "artistic license", the story is good enough and believable enough to warrant this. The homosexual undertones are also sensitively and beautifully handled as Billy begins to understand he may be stuck there for the next couple of decades.
The ending is rather abrupt, but it doesn't take anything away from the film, and there is a wonderful sense of fulfilment having been apart of such a harrowing but touching story. There may be an argument to say that the Turkish character are presented in too much of a one dimensional manner, but another aspect of the film is that is does deal with the protagonist in a more balanced way, and it really is a rollercoaster of emotion and feeling for each character. It's a shame that Brad Davis died so young and his career never really took off in the way his performance in this suggests it should have. This simply is a superb bit of cinema, that one can immerse themselves in and evoke those feelings that rarely surface inside.
Howard Hughes was undoubtedly one of the 20th century's most incredible personalities. Aside from being one of the century's most forthright entrepreneurs, he also dabbled in film-making. Hell's Angels was his directorial debut and though he went on to produce many more, he would only exert complete control over one other: 1943's controversial film The Outlaw. Hell's Angels though was undoubtedly his most ambitious film project, and it cost a staggering $3.8m to make, which meant it made no profit on it's original 1930 release, as well as being the most expensive movie ever made to date. It was also the film that launched one his most famous women: Jean Harlow. Whilst the acting is at times a bit primitive, the film coming in the early days of talkie, it helps highlight Harlow's star power. Here she plays a seductive temptress, and with her blonde bombshell look, it's easy to see why she would soon become the next big thing in Hollywood. Her low cut dresses and risque demeanour is very near the mark. Thankfully colour tinted scenes were found in John Wayne's private vault in 1989 and the film has been fully restored, allowing the world to see the stunning Jean Harlow in colour for the first and only time of her career.
As great as Harlow is, she isn't the real star of this picture. That accolade goes to the aerial stunt footage created by Hughes. It should be noted that Hughes' obsessive and perfectionist nature resulted in the deaths of 3 air stuntmen on this movie. His strive for realism even drove him to perform one of the film's stunt himself, one in which all other stuntmen refused to do, as they said it was impossible. Hughes' performed and filmed the stunt, but crashed the plane afterwards, one of the first of his ailments that would no doubt affect him for the rest of his life. The resulting aerial footage is nothing short of a masterpiece as a large German Zeppelin wreaks havoc over London and a squadron from the Royal Air Force launch their defence.
Admittedly plot wise it lacks any depth or sophistication, historically it's inaccurate and the German's are perhaps overplayed as nationalistic evil doers; but none of this matters, as the film's good, is nothing short of magnificent; with the climatic shots of the dogfight, being something to marvel at. Even over 80 years' later it remains a special effects stalwart. This was undoubtedly Hughes' finest hour in film.
Source Code was a cerebral thriller, brought to us by Duncan Jones (also known as David Bowie's son Zowie). Having yet to see his first wide release film Moon, this was my first Duncan Jones film, and it was both impressive and enjoyable.
A soldier (Jake Gyllenhaal) wakes up in the body of an unknown man, and is part of a covert government programme to try and track down a bomber in Chicago. It's fast paced and action packed, and it's probably best not to say to much about it, as it doesn't deserve anything to be given away. Whilst some of the films concepts are quite complex, meaning that you have to pause for thought when you can, to get your mind round the ideas; the ideas portrayed are intriguing. It does become a bit over elaborate in places, especially at the end, but for the most part it is coherent and understandable. On the whole though it feels more like an amalgation of ideas from film pasts, rather than an entirely new way of thinking, but it still comes across as original.
Gyllenhaal gives a consummate action thriller performance, and really does a great job of captivating the audience into his bizarre journey. Though Jones treads a bit to close to the lines of melodrama, especially in the scenes with Monaghan and Farmiga (both of who were good in fairly limited roles). However, the dialogue serves as a steadfast balance to the adrenaline rush of the rest of the film. Jeffrey Wright also gives a notable, if somewhat clichéd performance as the man who designed the programme.
Perhaps the film lacks a little variety and is a bit too succinct to make it fully satisfying; but I have a feeling any more depth would have hindered the plot. It may not be as profound as it tries to be, but it is certainly one of the best action films of the last few years, and should be able to entertain most adult demographics.
Red River was the film that made Montgomery Clift a matinee idol; and though it was also the first film he made, it was The Search, that was released first. The style of neo-realist cinema from Italy was evident in this film about the post-war rehabilitation of surviving children from the concentration camp. It was possibly the first time, this style of neo-realism had been brought to an American audience, and it's a style that was very befitting of the subject matter.
Another unique thing about The Search, is that I believe it is probably the only film I've ever seen that dealt with the difficulty of having to reaccommodate the child victims of the concentration camps; not only to new homes, but to post-war society. The film had a great power in showing these vulnerable children struggling to cope with a new world, where the alien notions of trust and understanding were hard to comprehend. The film was greatly helped by being filmed against the backdrop of a rubble-laden Nuremberg; as well as the exemplary performances from the actors involved.
The most compelling performance was that of child star Ivan Jandl, who spoke no English and learnt his lines phonetically. Despite this, nothing was lost in his performance, and his on screen relationship with Montgomery Clift felt as real as the debried laden backdrop. Clift and Jandl also worked together off screen in order to enhance their performances further. Without Jandl the film may have felt a bit false and the film would have lost some of it's authenticity. The same may also be said of Clift, who is at both his most paternal and fresh faced, he gives possibly his most endearing performance on screen, and this is without having to resort to overwrought melancholy. Aline MacMahon and Wendell Corey give appropriate, albeit a little stoic support. Whilst opera star Jarmila Novotna works well as the indigent mother longing for her son.
Director Fred Zinnemann would go on to become a Hollywood stalwart, but this was the film that propelled him to the forefront of studio projects. As such it is probably one of his few films that succumbs to the Hollywood magic element that were prevalent in their post-war films. It manages to remain grounded and naturalistic, in spite of it's broad and tragic subject matter.
It's certainly a film that's hard not to dwell on afterwards; but despite it's hard to watch scenes, they are rewarding on an emotional and intellectual level. This isn't just a storytelling exercise, it's a history lesson and very enjoyable and rewarding one at that, showing it's audience the often overlooked logistical difficulties resulting from the war.
Michael Haneke is probably German most respected director at this moment in time, and on the eve of his Oscar triumph I watched his 2009 film The White Ribbon. Set in a small German village before world war 1, a lot of strange events start occurring, that appear to be some type of retribution against the villagers themselves. Alongside these events we are showing the abuse and repression that is experienced by the children of this village.
For a film that has to rely on the performances of it's young cast, it really does excel. The entire cast delivers this emotionally packed screenplay to a tee, and it really is a privilege to watch so assured performances in so many child actors. The cinematography is also fantastic, and the black and white filming set up the dark tone of this film nicely. Some of the shots in the film are sheer beauty and serve as a reminder of what foreign language films offer over today's output from Hollywood.
For all the technical quality this film has, it does unfortunately lack in a few areas; it's well crafted nature seems to come at a compromise to the pacing of the film and it is a little arduous to watch. It's ambiguous nature, whilst obviously an intended device, may leave the viewer a bit let down at points. However, as an allegorical satire of German society during this period it works perfectly, and when you do ponder upon some of the ambiguous aspects, you will discover the films intellect. It's a film that's hard to watch, but easy to admire; and one that simply would never get made in Hollywood.
Marnie was a film that is probably regarded, slightly unfairly as the beginning of the end for director Alfred Hitchcock. It is probably fair to say though it did signal the end of his most high profile films and his subsequent films became quite low key after this. Marnie is a film though that manages to maintain all the signature elements of a Hitchcock classic. Tippi Hedren plays the central blonde/ femme fatale, and her character shares elements of recent Hitchcock blondes Janet Leigh and Eva-Marie Saint's characters. Sean Connery play the role of the cunning love interest that tries to out manouevre the manipulative Marnie. Like most of his films, this tries to maintain the mystery and suspense throughout the movie, but despite the best efforts of the cast, it just lacks the electricity of his previous thrillers. Some of Hitchcock's technical elements and special effects in trying to inject more suspense and excitement into the plot, come off as over the top and it has the reverse effect in detracting from the film's story. Hedren also tends to overact in places, but this may be down to her director trying to stir up more suspense and drama.
That said, it is probably one of Hitchcock's most challenging films and he tries to push the boundaries in what is allowed on film here. Though most modern audiences won't be surprised by the end, of the film, I imagine that it was quite a revelation back in 1964. Though a good film by anyone standards, it is one that probably rightly gets overlooked in the Hitchcock catalogue, as it just lacks something that sets it apart.
Django Unchained has to go down as Tarantino's homage to the spaghetti westerns; with it's combination of heightened violence, it's matter of fact attitude, mixed with low quality film for flashbacks, as well as it's Ennio Morricone soundtrack; it was a film comparable to Death Rides a Horse, My Name Is Nobody and the eponymous Django. Django Unchained though, is ultimately a high quality rendition of it's inspirations.
Having been unimpressed with Tarantino's Inglorious Basterds, I was hesitant about this, being such a fan of the same films that inspire Tarantino. I needn't had been so worried, as this film is everything it sets out to be, and manages to update the themes of the spaghetti western for today's modern audience. What I absolutely admire about this, is that Tarantino doesn't hold back for one single frame of film, and neither do any of his actors, who give it their all and really do immerse themselves into their roles and the script. Tarantino has been getting a lot of slack for his overuse of the 'N' word in this film, and as someone who hates gratuity, I was apprehensive about this in the film. However, it works brilliantly as the antithesis of those decades of Hollywood movies that have shied away from exposing America's sordid past. Even though the word is used over 100 times in the film, it never comes across as gratuitous; and although gratuitous violence is something which can be labelled at Tarantino in the past, it is appropriate here, as it tries to match those low budget European Westerns, which tried to compensate lack of finance with overwrought violence.
My one question in regards to the acting, is how Christoph Waltz was only nominated as a supporting actor. He has nearly 2 hours of screen time, more than the majority of past best actors winners, and he is seamless yet again for Tarantino, I've yet to see Lincoln, but surely he could have even challenged Day-Lewis. As someone who is ambivalent to Jamie Foxx, I thought he was superb in the title role, and really fit the role of "mysterious stranger" that was so prevalent in the original spaghetti westerns. Di Caprio and Samuel L Jackson were also revelatory in their performances, given them a bit of a departure from the roles they usually portray. With Di Caprio, he is on occassion guilty of over acting, but here he is so immersed in the role, that his method is never on show, and you feel as immersed in his character as he is. There are also some great cameos in this film from veterans such as Bruce Dern, Don Johnson (unfortunately Kevin Costner had to pull out again) and the original Django Franco Nero. The film is also littered with all the sycophantic nods to the films that Tarantino has grown up with and loved.
As for the film it is atypical of a Tarantino film, in terms of editing, style and direction; but the film's real technical strength is it's superb screenplay, which is soaked in jokes, satires and the monstrosities of the pre-Civil War south. The one real let down of the film, came towards the end, when a scene felt like it was shoehorned in to work as a plot device, which led to the film's climax. That aside, this is a very good film, and a fitting Hollywood tribute to the film's that reignited the Western genre: The Spaghetti Westerns. It's probably Tarantino's best film since Pulp Fiction.
Frame for frame, you would be hard pressed to find a finer looking Hollywood film than Days of Heaven. Terrence Mallick's second film after his debut, the seminal Badlands (which is also the only other Mallick film I've seen). Set against the backdrop of a mid-west farmhouse, in a similar vain to the Benedict farmhouse in the film Giant, some of the shots in this are simply sublime. For some critics though, this seems to have detract from the film's plot.
Admittedly Days of Heaven isn't the deepest film to watch in a literal sense, however it offers a lot in the way of metaphor and imagery, that results in an experience that at times seems other worldly. The scenes a comparable to Visconti's best, including the locust ascending from the wheat farm, which is sublime. The accompanying score from Ennio Morricone and it's Saint-Saens motif from 'The Aquarium' sumptuously enhances each shot further. Leo Kottke's 'Enderlin' also fits the bill nicely for the more up beat moments in the movie.
It's stars also have also never looked more beautiful on film, especially the young Richard Gere and Sam Shepherd. What also doesn't help the film plot wise, is the fact Terrence Mallick destroyed the script a couple of weeks into filming, and decided in letting actors work the story themselves. What results is a rather simplistic tale of a couple, who moonlight as brother and sister in an attempt to steal a rich farmer's wealth. Some may argue that there is a far deeper meaning to this film, and it could be viewed as commentary on life itself, with it's lead characters representing natures elements. With the amount of shots of nature intertwined with the story, it's easy to see why people have alluded to this.
Whilst the narration from the vindictive couple's little sister can grate at times, it serves well as a guide to this simplistic story through the narrator's simplistic point of view. The films editing is also questionable to time, as it tends to jump during transitions, where as gentle fades would have been more befitting the cinematography and story. However, I think the brevity of some shots, sets it apart from other beautiful films of it's ilk, and helps move the story forward. Though this results in a short film, nothing feels underdone, and the film is left with that "rewatchability" factor, predominantly for it's sheer beauty; but admittedly also for it's poignancy. Maybe not as profound as his debut Badlands, but Days of Heaven is nonetheless a special film.
