Junto Boys

MOVIES REVIEWS CATCHUP

I am way behind in posting my reviews. Some of these date back to May. I haven't posted a book review on Amazon since January. Taking a leadership spot at work has certainly curtailed my criticism writing.

Since Netflix has allowed me to create my own mini film festivals, Ill start with a recent creation.

JAMES STEWART-ANTHONY MANN WESTERNS

WINCHESTER ’73 (1950) – This is the first entry and the only B/W. The story centers on a rare rifle that everyone wants and a character called Dutch Henry Brown that Stewart wants to kill. There are some great moments and the psychological elements that made the series famous are also present. It was unusual in contemporary westerns that a hero like Stewart would proclaim that he wants to kill someone, but it’s still a bit stuck in other conventional Western patterns nonetheless. The New York sounding Dan Duryea plays a cold blooded killer. Rock Hudson plays an Indian chief. Tony Curtis can be seen somewhere. The underrated character actor John McIntire has a small role and he would turn up as the heavy in a later installment.

BEND OF THE RIVER (1952) – It develops early as a buddy film between Stewart and Arthur Kennedy two guys that share a similar past as gun fighters. The two volunteer to help some settlers get provisions to their new homestead. Stewart shows that ill reputes can be redeemed while Arthur Kennedy shows that it’s not always so. Rock Hudson gets a bigger role as a gambler that pitches in against the villains. The relationships here are bit clumsy. I have trouble believing Kennedy would turn his back on Stewart while the Rock Hudson character seems a little too ambiguous leading up to the conclusion.

THE FAR COUNTRY (1955) – This is my favorite of the series. McIntire plays the heavy and Walter Brennan plays Stewart’s sidekick. There’s also a love triangle with Stewart on either side of the worldly Ruth Roman and the naïve Corrine Calvet. Stewart seems the most torn between morality and self-determinism here and that’s the theme of the whole series looking back. I heard a critic once say that Stewart was more in touch with his anger than any prominent American actor in the history of film. It‘s his anger in this series that’s so unusual for leading men and Stewart in general. There’s a look in his eyes that says temporary insanity.

The series also includes THE NAKED SPUR (not on DVD) and MAN FROM LARAMIE (which I couldn’t get to play in my machine). Either could be the best of the series. I've seen snipets of both on AMC through the years.

ONES I SHOULD I HAVE SEEN BEFORE NOW

DO THE RIGHT THING (1989) – Spike Lee makes better movies than his militant persona leads on. For instance, Danny Aillleo is much more sympathetic than you’d expect a white character to be. Spike even makes his own character ambivalent rather than heroic. The movie has some really good performances by the likes of Ossie Davis and John Turturro, but still the movie gets too much credit overall. Spike sets up a believable story of hot summertime Brooklyn and even the eventual riot that ensues makes dramatic sense, but the epilogue between Lee and Aiello rings so false that it spoils the realism that led up to it. Lee wants the audience to forgive the mob violence that ruined Aiello’s pizza joint with the reasoning that Aiello is insured. That it never seemed to be about money to Aiello is conveniently ignored so that the people who started the riot can be forgiven without consequences.

F FOR FAKE (1973) – The last completed movie directed by Orson Welles is many times interesting but too fragmented to make a cohesive whole. He’s great to see on camera, funny and mischievous. His voice over line readings have always been the gold standard. The movie breaks down into two parts. The first is the study of famous fakers and the second is Welles own fraud to bring the film to feature length. It’s a shame that Welles didn’t helm a commercial film in the 1960s to keep his directing career alive. Nobody could have done better with this material than Welles and yet style can’t always make up for substance.

+ ADVISE AND CONSENT (1962) – Otto Preminger directed film based on the Pulitzer Prize winning novel by Alan Drury. Charles Laughton’s last film is a great example of his uniqueness in film history. Laughton was one of the few homely character actors to attain leading role status due to his incredible talent alone. Dude’s recent comparison to P.S. Hoffman is apt. I once thought that Gary Oldman was taking on the Laughton mantle, but he’s more chameleon like while Laughton could never disguise that mug. The center of the story is the ailing Democrat President wanting to name the controversial Henry Fonda as his new Secretary of State. Laughton is the southern Democrat opposed to the nomination. The story takes on a number of twists and the supporting characters, Walter Pidgeon, Peter Lawford and Burgess Meredith are well cast. Like George Stevens, Preminger hasn’t been given due credit for his body of work.

BUNNY LAKE IS MISSING (1965) is probably Preminger last decent film. Here an American brother and sister relocate to England to with the sister’s young daughter. Soon after the film begins, the sister’s daughter comes up missing and it’s up to English detective Lawrence Olivier to find the daughter or discover is she ever even existed. Since the audience has never seen her, we are given reason to wonder the same thing. Like 80% of all films that begin well, you have to forgive the disjointed ending a little.

RECENT FILMS

THE FORGOTTEN (2004) – This is not quite a remake of Bunny Lake, but it does share the story of the missing daughter that no one believes exists. From there is heads into otherworldly territory that might intrigue Dude and his recent studies. The trailer doesn’t give this part of the movie away. Good character actors, Alfre Woodard, Gary Sinise, and Anthony Edwards help make this a little better than the average genre picture.

HOSTAGE (2005) - I like Bruce Willis enough to watch his average action films hoping for another DIE HARD. He made his money in films like this, but movies like PULP FICTION, SIXTH SENSE and even NOBODY’S FOOL show his range much better. This is full of the petty villains that grow more psychotic, the authorities that are clueless and the big overarching super villains that always keep their poise. While entertaining enough at the time, you’ll forget it by the end of your next meal.

KINSEY (2004) – Commentators have always treated Kinsey as a pretty straight-laced guy in real life, but the filmmakers make him out to be a pervert by modern standards and a freak by the standards of his time. Interestingly enough is that the movie seems to be designed more to normalize his behavior than explain his importance on the scientific study of sex. Liam Neeson does a decent job. The secondary characters played by Chris O’Donnell, Timothy Hutton and Peter Sarsgaard aren’t developed quite enough outside the little petty rivalries they develop. John Lithgow plays Neeson’s father as a derivative of the character he played in Footloose. I don’t think Bill Condon decided whether he was making a comedy or drama, because the movie weaves back and forth. And although it’s just under two hours, it still seemed 30 minutes too long. Condon also directed GODS AND MONSTERS, another acclaimed film that left me cold.

THE NOTEBOOK (2004) Nick Cassavettes has cashed in his father’s indie credentials for a studio directing career. His mother Gena Rowlands and the reliable Jim Garner provide the sentimentality, while the youngsters including the fetching Rachel McAdams provide the sex appeal. It’s hard not to like, but guiltily so.

BRIDGET JONES: The Edge of Reason (2004) – While the Notebook was in response to the wife’s insistence that I stop throwing art house movies at her, Bridget Jones is a full capitulation of my aesthetic tastes to the art of compromise. Trish loves these books and forgives this sequel despite the 20% Rotten Tomatoes rating. The first movie is actually better than I would have thought and the second one suffers from repetition more than anything else. It goes to show that $100 million at the box office dictates sequels, not rich storylines.

Assassination of Richard Nixon (2004) – Sean Penn is believable playing the sympathetic loser that slowly blames his problems on Richard Nixon. There are some sad scenes of him trying to reconnect with his ex-wife and kids. A couple of other scenes with him working as a furniture salesmen seem realistic too. Frank Capra said that movies are real life with the boring parts cut out. Here the boring parts are left in.

NAPOLEON DYNAMITE (2004) – Like My Big Fat Greek Wedding, this movie gets street cred not for being great, but for outperforming at the box office. The filmmaker has a quirky sense of humor that reminded me of Wes Anderson. The scene where Napoleon meets Pedro and the scene with the uncle and the time machine seemed to be a B movie version of Anderson. Overall, I got kind of tired of it and it didn’t end particularly well.

Undertow (2004) – The latest film from David Gordon Green has a couple of recognizable actors including Dermot Mullroney. Roger Ebert loves this guy’s filmmaking and I have to admit that it’s not without interest. I didn’t love his debut GEORGE WASHINGTON but I respected it. I did admire his follow-up ALL THE REAL GIRLS. This runs hot and cold with me liking a good deal of it, but not really believing the ending.

THE LIFE AND DEATH OF PETER SELLERS (2004) – Geoffrey Rush is one of my favorite actors. Peter Sellers was brilliant. Geoffrey Rush plays a stellar Sellers. The movie isn’t much more beyond that. It’s just one more example of how a humble enough guy becomes a heel through too much adoration and fawning.

+AVIATOR (2004) – One of the better movies from last year. Scorsese has been a little spotty lately with even the entertaining GANGS OF NEW YORK becoming forgettable. There is nothing about this film that would make me think he directed it, which might be a positive if you compare it to his work during the last ten years.

TWO STEVE MCQUEENS

+THE CINCINNATI KID (1965) I saw this again right as it came on DVD. Depression era New Orleans makes a great setting and the supporting players, Karl Madlen, Ann-Margaret, Rip Torn, Jack Weston and Tuesday Weld add production value. The essence of the film is the showdown between Steve McQueen and Edward G. Robinson and although the final poker hand is a stretch the drama is quite good. Commentary tracks by Norman Jewison and another by Phil Gordon and David Foley add something too. The old VHS ending had McQueen alone. The TV and DVD version has McQueen reunite with Weld.

THE WAR LOVER (1962) – Based on the novel by John Hersey, Steve McQueen is the guy you like early on until he reveals himself to be a dirtbag. Robert Wagner is his pal and co-pilot. This was one of McQueen’s early breakout roles and you can see the star power come through. Wagner’s career was already longer than McQueen’s but you can see why it never really took off. The movie itself was less interesting with every exposed frame.

REVISTING FILMS I LIKED

+LAST OF THE MOHICANS (1992) – Mark Twain hated the novel by James Fenimore Cooper so much that he wrote an entire essay on it. Michael Mann and Daniel Day Lewis do a great job of making a compelling film. I liked it in the theatre years ago and I still liked it on this my second viewing. Very few films tackle this pre-Revolutionary war period well. This might be the best effort I have seen.

HONKEYTONK MAN (1981) – The critics have never much like this Eastwood film, but I have always found it charming and understated for this period in his career. Eastwood is an obscure country singer dying of TB trying to become famous before he leaves the world. Eastwood’s son Kyle makes a good co-star. James Stewart was offered the role as Grandfather, but since he refused to ever play grandfathers, he turned it down flat. The Grandfather is instead played by Stewart’s FAR COUNTRY nemesis, John McIntire. What a small world. It’s overly sentimental and a stretch and yet I fall for it every time.

+HIS GIRL FRIDAY (1940) I just finished Ben Hecht’s autobiography last week and Trish wanted to see something funny so this movie played into both of our desires. The lightning fast dialogue and interplay between Cary Grant and Rosiland Russell will hold up 100 years from now, I suppose. It’s not realism, but the kind of zany world that’s much more fun than the life.

OTHER FILMS

+BRUTE FORCE (1947) – This is a good testament to the lasting influence of those commie blacklisted filmmakers and the support they still garner by the zillionaires in Hollywood. Before the openly communist, Jules Dassin was exiled to make films in Europe, he was undercover in America making films like this. There’s great drama here with Burt Lancaster leading a group of prison inmates that are either sympathetic for their innocence or the mitigating circumstances that led them to crime. It’s almost funny that the only real bad guy is sadistic prison guard Hume Cronyn. It certainly foreshadows Shawshank Redemption. Warner Brothers may have let gangsters become leading men, but they were always shot for cause in the last reel. Their ends here are treated as less than just. The over riding villain is not even Cronyn but the cold free market system itself that brought these little angels to crime. While this was a shockingly anti-American position in 1947, it’s become so standard in modern film its no wonder the Left hates HUAC and Kazan more than the Rooskies. Brute Force is one of those superior efforts with B material that is both entertaining and historically significant for its influence on modern themes.

MICHAEL MOORE HATES AMERICA (2004) – It’s not the negative film that the title suggests but a look at the positive things about America that Moore ignores for the sake of his own drama. Michael Wilson presents some interesting ideas about documentary film especially talking with Penn Gillette. He traces Moore’s steps in Flint Michigan to show it’s not such a hell hole. He also visits the bank from BOWLING FROM COLUMBINE to prove that the storyline behind the gun giveaway is totally misrepresented for the sake of drama. Wilson mostly shows how Moore plays into the dominant media bias enough that critics refuse to see beyond their own prejudices to critique the actual truth behind Moore’s claims.

+George Stevens: A filmmakers Journey (1984) – This is the second time I have seen this documentary on the forgotten filmmaker. Stevens’ son, George Jr. runs the American Film Institute at the Kennedy Center and he narrates this movie. Stevens began shooting Laurel and Hardy films in the 1920s and all but stopped making films when his big budget GREATEST STORY EVER TOLD flopped despite 5 years of production to get it just right. Stevens made some real classics, GUNGA DIN, WOMAN OF THE YEAR, A PLACE IN THE SUN, and GIANT that I have seen numerous times. This documentary makes you want to see his movies all over again.

VIVA LAS VEGAS (1964) – Elvis movies are something you like as a kid, dislike as a film student and then learn to like again on their own terms. Elvis wasn’t a good actor (or at least he didn’t try much) and his movies are usually shoddily written and yet the camera loved the guy. I tend to think his pre-Army movies are the best. Even the somewhat underrated LOVING YOU (1958) has a lot of charm. This is probably one of his better 60s movies and although you don’t believe it one moment, it’s still fun enough to watch.

TALL IN THE SADDLE (1944) – The Duke in a B-Movie Western known best by the Junto as the movie where Wayne calls the Queen dead during a poker game. “He’ll be back, he’s the type.” Kevin saw this before me and re-told the poker scene in great detail that had me laughing. When it came on DVD I decided to jump on it for old times sake. I wish Dude had been in the director's chair, because the poker game is a humorous scene, but I prefer Dude's telling of it a little more.

(+) denotes exceptional film