Monday, July 28, 2014
Charming adaptation of the Mark Twain classic, elaborately but tastefully produced in Technicolor by David O. Selznick. Director Norman Taurog was the perfect choice for the material, getting fine performances out of the young leads, especially Tommy Kelly in the title role and Ann Gillis as Becky Thatcher. The supporting cast includes stand-out performances by seasoned character actors May Robson as Aunt Polly, Walter Brennan as Muff Potter, and Victor Jory as Injun Joe, among others, bringing Twain's colorful characters to life.
Robson in particular is a delight, as always. Her portrayal of Aunt Polly reveals a real affection and concern for Tom when the boy is in danger, belying her tough and scolding demeanor, and making the character much more than just a foil for Tom's mischief. The script, by John V.A. Weaver, does a superb job of capturing the spirit of Twain's book, skillfully blending the dramatic and comic moments. While the plot is obviously simplified for the film, it contains the most memorable set-pieces. The highlight is the cave sequence, in which Tom and Becky get hopelessly lost in a cavernous underground labyrinth. Lavishly designed by William Cameron Menzies, this claustrophobic and suspenseful sequence still packs a punch.
The story has been filmed numerous times over the years but this version is probably the best thanks to Selznick's characteristically high production values; it holds up quite well and is still a fun piece of entertainment.
Wednesday, July 23, 2014
Intriguing, sometimes powerful, drama, written and directed by Sean Penn, which never quite lives up to the potential hinted at by its premise. Five years after a drunk driving accident has taken his daughter's life, her father -- a self-destructive man with a hair-trigger temper (Jack Nicholson) -- seeks revenge on her killer, a young man just released from jail. The father wrestles with own anger and hatred, his relationship with his estranged family, and his decision to take the young man's life, while the young man in turn struggles to come to terms with the consequences of his past actions and to adjust to his new life after prison.
Penn takes the melodramatic material of this story and treats it as a character study. Nicholson puts in a typically fine performance, and the film lags a bit when he is off-screen. Anjelica Huston has a good but all-too-brief role as Nicholson's ex-wife, who urges him to move on from the grief and anger he feels over their daughter's death. An effective if uneven effort.
Monday, July 21, 2014
A sort of cinematic tone poem by Terrence Malick on love and relationships, following the unpleasant disintegration of a marriage between Neil (a miscast Ben Affleck), a environmental inspector working in the oil fields of Oklahoma, and Marina (Olga Kurylenko), a young woman whom he met while on vacation in France. Re-located to Oklahoma with her daughter, Marina is uncomfortable in her new surroundings, and attempts to find guidance in a local priest (Javier Bardem) who is struggling with his own faith. Having set up this premise early on, Malick explores the themes and ideas with his usually rich visual style, but the approach too often feels unfocused. All the elements are here, but they never quite fall into place. Malick also undercuts his strong visual poetry with the voice-over narration, which distracts from the effects he is already able to convey through the images. The film is further hindered by the leading performances. To be fair, the characters are difficult to do too much with, as they rarely seem to be called on to act as little more than blank slates, but Affleck is simply too one-note, while Kurylenko's performance contains a kind of empty, surface-level charm but lacks the depth to create a fully realized character. Malick is most effective at depicting the regional milieu and how it drives a cultural wedge between the two characters . An interesting if ultimately unsatisfying film.
One of the best films I have seen in a long time. Robert Eroica Dupea (Jack Nicholson in one of his finest and most understated performances) is a man who finds his life divided between where he has come from and where he is going, a perfect metaphor for a country divided -- between economic and class barriers, between changing traditions and ways of life, between the old and the new.
As the son of an upper-class family in Washington state, Dupea left a promising career as a concert pianist in order to drop out and work on oil rigs and experience what America had to offer beyond the comfortable but unsatisfying bubble in which he lived. However, by the time we catch up with him, he is starting to become disenchanted with his new life in rural Southern California, strongly questioning his decision after his girlfriend (Karen Black) unexpectedly becomes pregnant and his best friend is arrested for a past crime. This leads him back to re-connect with his family, but he soon finds he is unable to reconcile his new experiences with their ideas and attitudes. Dupea is perpetually rootless, perpetually in search of the experiences that will give his life meaning, in search of answers he may never find.
Bob Rafelson's direction, sensitive and restrained, achieves a totality of style and tone that stands as some of the finest work in American film from this period. Stylistically, the film is rooted in the naturalistic approach prevalent at the time, and remains one of the key works of the American New Wave. Cinematographer Laszlo Kovacs brings his distinctive eye in capturing the breathtaking Southwestern landscapes and skies at dusk, the subdued atmosphere of the Pacific Northwest, and other locations throughout. Like the previous year's EASY RIDER, also lensed by Kovacs, the choice and presentation of the locations are absolutely essential to understanding the film. FIVE EASY PIECES is a film about America, about the road, the drive resulting from dissatisfaction with our circumstances, the sense of moving forward to an uncertain future and the experiences we encounter along the way.
Sunday, July 20, 2014
Surprisingly effective thriller, directed by Peter Weir, about a cop (Harrison Ford) who must hide out on an Amish farm after uncovering a potentially scandalous instance of police corruption during a murder investigation in Philadelphia. Weir makes the most of the premise, and Ford turns in a fine performance as the stoical police officer who comes to appreciate the simple ways of life of the Amish community with whom he stays. Lukas Haas gives a remarkable performance as the young boy who witnesses the murder that sets the plot in motion, and the relationship that develops between him and Ford is quite touching. Weir also makes excellent use of the Pennsylvania filming locations, capturing the atmosphere of Dutch Amish country with a real sense of authenticity and regional flavor. The plot is very well-paced, expertly maintaining suspense and building up to the final confrontation between Ford and the dirty cops in a tense shoot-out on the farm. One of those films where everything works, and all of the elements come together effectively. The kind of solidly entertaining movie Hollywood just isn't capable of making anymore.
Inconsequential piece of silliness that inexplicably spawned two sequels. A hapless inventor (Rick Moranis) has created a device capable of shrinking objects to minuscule size, which only works in accidentally shrinking both his and the neighbors' kids. There's much promise in the premise, but it lacks energy and grows tired quickly, and aside from Moranis, most of the performances are decidedly forgettable (even "Max Headroom" himself, Matt Frewer, as Moranis' long-suffering neighbor). The special effects are all top-notch, however, and are expertly employed in the service of a couple of good set-pieces -- including a battle between an ant and a scorpion and a flight on a bumblebee -- that make up the film's most memorable moments.
Excellent documentary by Jeffrey Schwartz examining the life of talented character actor Harris Glenn Milstead, better known as drag performer Divine. Tracing his career from his early films with John Waters, to his stage shows in San Francisco and New York, his recording career as a disco performer, and his untimely death immediately following the premiere of HAIRSPRAY, Schwartz's documentary captures Divine's enormous talent, larger-than-life personality, and generosity that earned him equal measures of love and respect from colleagues and audiences alike throughout his career. A highlight are the interviews with Divine's mother, who touchingly recalls her relationship with her son. A fitting tribute to a great talent.
Thursday, July 17, 2014
Tuesday, July 15, 2014
Truly creepy supernatural horror film that holds up better than most. Roman Polanski manages to take the familiar New York locations (especially the Dakota on Central Park West) and make them seem genuinely otherworldly. The premise -- about a young mother who begins to suspect that her husband is involved with Satanists that desire her unborn child for a ritual -- could have easily turned ridiculous if not laughable in lesser hands, but Polanski's direction and script, combined with expert acting from a fine cast, make this one a classic of its kind. Mia Farrow brings the perfect combination of vulnerability and strength to her part of the young mother dealing with forces beyond her control, and John Cassavetes does characteristically fine work as her deceptively charming husband. They are ably supported by a superb cast of character actors including Ruth Gordon, Sidney Blackmer, Maurice Evans, Ralph Bellamy, Patsy Kelly and Elisha Cook Jr.
Monday, July 14, 2014
Lush romantic drama about three young American women, working for the USDA in Rome, as they find love against the backdrop of Italy in all its splendor. Jean Peters, Dorothy McGuire and Maggie McNamara make a charming trio in the lead roles, and are ably supported by Rossano Brazzi, Clifton Webb, and Louis Jourdan as their respective love interests. Webb in particular is a delight to watch, with his understated comic playing and expert timing.
Director Jean Negulesco excelled at this kind of material, and made a number of similar "women's pictures" for 20th Century-Fox during this time. An expert craftsman, he had an invisible style that never calls attention to itself. Here, he deftly handles the screen space of the CinemaScope frame, bathing the film in atmosphere through the evocative use of its locations and vibrant Technicolor cinematography, and benefiting immensely from having the full resources of Fox at his disposal.
However, John Patrick's screenplay, adapted from John H. Secondari's novel, is a largely routine piece of work that contains all the requisite plot points, but fails to move beyond the conventions demanded by the genre. As a result, the characters and situations too often feel flat, and the melodramatic turns are easily anticipated, but it also manages to be surprisingly effective and genuinely moving at times, particularly in the subplot involving Clifton Webb and Dorothy McGuire. It's all charmingly predictable though, and succeeds at what it sets out to do.