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.
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