by ·Comments Off on Away We Go (2009, Sam Mendes)

Written by Dave “Staggering Genius” Eggers and his wife.

Maya Rudolph (whom I sorta halfway remember from Idiocracy) and John Krasinski (who I totally don’t remember from Smiley Face) star (star!) in an uplifting family comedy from Sam Mendes. Family! Comedy! Sam Mendes! Yes, somebody is dumped and another couple is working through their fifth miscarriage, but our doom-proof heroes walk through it all, unencumbered by hostility or financial need, all the way to their happy ending.

Starpower: Catherine O’Hara and Jeff Daniels play John K.’s parents in one scene, Maggie Gyllenhaal is hilarious as a former friend gone hippy-dippy stroller-phobe with her new-age guru husband, and Allison “Juno’s mom” Janney is Maya’s caustic, terrible ex-boss.

Movie made Katy and I feel good.

by ·Comments Off on Shorts watched June 2009

Poyraz (2006, Belma Bas)
Rural people sure live quaint and handsomely photographed lives!
Nuri Bilge Ceylan was thanked in the credits

Why Play Leapfrog (1949, John Sutherland/MGM)
Let’s hear it for capitalism! Clever cartoon describes why inflation is okay and raw material costs don’t mean much. A boring explanation of why America is so darned great that ends by telling factory workers to be more efficient and come up with smart cost-saving ideas which will lead to greater pay increases.

Balance (1989, Christoph & Wolfgang Lauenstein)
Ominous stop-motion – five mute guys with numbers on their shirts and telescoping fishing poles in their shirts are on a balanced platform suspended in space. One catches a sort of music box and the others get greedy, leading to a fight which ends with one guy on the far end of the platform from the box.

Broken Down Film (1985, Osamu Tezuka)
It’s a popeye-like cowboy cartoon except that the film’s projection problems (hair in the gate, scratches, countdown leader, etc) are part of the story. Cute.

and a few from the Unseen Cinema box set…

Paris Exposition Films (1900, James White)
Some one-minute films at the Eiffel Tower a decade after its construction. Best part is this guy on the left side of the screenshot. People were walking up to the camera and this guy saw his chance for stardom, so he prepares himself for some manuever (maybe a backflip) but blows it, stopping instead to shake hands with an acquaintance offscreen as the film runs out.
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Captain Nissen Going Through Whirlpool Rapids, Niagara Falls (1901, Edison Co.)
It takes longer to type the title than to watch the film, which is of some submarine-looking craft bobbing in a river. Found a wonderful tale online of Nissen’s stupid death four years later, but unsure if it’s true.
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Down The Hudson (1903, Frederick Armitage & AE Weed)
Much more interesting than the submarine thing – New York riverfront over a hundred years ago. I assume lots more of this stuff will be on disc five.
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The Ghost Train (1903)
Oooh, someone learned to invert the black/white image AND to matte a moon into the upper corner. This is one of my favorites because it is neat-looking and twenty seconds long. If only you could say the same for Transformers 2.
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Westinghouse Works, Panorama View, Street Car Motor Room (1904, Billy Bitzer)
Long factory tracking shot reminds me of the beginning of Manufactured Landscapes. Unlike in ML, all the workers stop and look at the camera.
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In Youth, Beside the Lonely Sea (1925-ish)
Crazy three-panel layout illustrating the poem told with text above and below the picture. Lots of ghostly superimpositions. This was so damn cool I had to lay down for a while.
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by ·Comments Off on Amélie (2001, Jean-Pierre Jeunet)

June 2014:
From a year when I was watching more movies than ever, and starting to get obsessed with my favorite filmmakers. Visually distinctive films that became instant all-time faves included Mulholland Drive, Pulse, The Royal Tenenbaums, Artificial Intelligence, Monsters Inc., Donnie Darko, Winged Migration, and Amelie. I’d caught up with Jeunet’s previous features on video (including the brilliant Alien Resurrection), always impressed by the atmospheric fantasy worlds, rube goldberg devices, intensely detailed production design, playful editing, cartoon camera angles and rubber-faced Dominique Pinon. With Amelie, he took his fantasy visions and hurled them into the present-day real world, creating a romance flick that keeps forgetting to be romantic because it (like the protagonist) is too easily distracted by everyday wonders.

July 2009:
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The cigarette-counter lady in Amelie played a lead in Not On The Lips. She did look awfully familiar.

Our narrator was the VHS-watching realtor in Hearts/Private Fears

And holy crap, Katy knew just from the trailer that the veggie-stand guy starred in Angel-A.

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by ·Comments Off on Stars In My Crown (1950, Jacques Tourneur)

Another post-Civil-War American small-town drama – I kept flashing back to John Ford’s Judge Priest movies. Our hero this time is more priest than judge. Pastor Joel McRae (I’d forgotten he was a cowboy actor when not appearing in Preston Sturges films) comes to town in the wild old days, marries Ellen Drew (same year as Baron of Arizona, still the queen of not making a strong impression) and whips the town into shape.

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A bunch of years later they’ve inherited a nephew (13-yr-old Dean Stockwell), our protagonist who shows us around the rest of the colorful town. They’ve got a friend called Uncle Famous, there’s a guy named Chloroform (his mom liked the word), Alan Hale (father of the Skipper) is hardworking but godless farmer Jed, and Pastor Joel’s best friend is the town doctor (Lewis Stone, better known as Andy Hardy’s dad). Well, when the doctor dies his son takes over as doctor, and the son doesn’t like mixing his scientific work with the pastor’s religious work.

Serious young doctor (dancer James Mitchell) with love interest Amanda Blake (later a Gunsmoke star):
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There’s lots of work for doctor and pastor since young Dean catches typhoid fever from the school well and soon all the kids in town have got it. The pastor cancels church service to avoid spreading disease, and the new doctor becomes the prime influence in town; people stop calling for the pastor’s services. Joel gets a little credit for eventually finding the source of the illness and alerting everyone, but maybe he could’ve talked to his son sooner. Kids were thought not to have any information worth knowing in the 40’s-50’s, let alone the turn of the century.

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More trouble: Uncle Famous (Puerto Rican Juano Hernandez, later of Kiss Me Deadly) is being menaced by a mine owner who first offers to buy Famous’s land for more than it’s worth, then trashes the place and ruins his crops and offers to buy it for less (farmer Jed helps him rebuild), then sends the KKK cross-burning lynch mob after him. Big climax comes when pastor Joel protects Famous by reading a fake will deeding all his possessions to the masked mob members, shaming them into going home.

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Happy ending: Famous is safe, the illness is passing, doctor and pastor are reconciled and Farmer Jed and his family all come to church the next sunday.

Early in the movie Jack Lambert is a town bully – but instead of a Forty Guns situation, after Joel McRae whups his ass into the mud he sits and laughs. We’re all still friends here. Nicely sets the tone of the town – even the bad guys here are good at heart – which makes the klan-turnaround ending ring more true.
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I can’t tell much about Tourneur judging from this and Out of the Past and Cat People – all very different but quite good movies. It’s weird watching this so soon after The Sun Shines Bright – another post-civil-war movie named after a song lyric and featuring people playing Dixie and a racial-barrier-crossing white authority figure. Safe to say I liked this a whole lot, even if I’m not anxious to watch it again.

M. Grost:

Stars in My Crown contains a ferocious attack on racism. It is one of the boldest of the post-war films, that supported the growing Civil Rights movement of the time.

This film is like Out of the Past, in that it shows evil forces laying siege to people in small towns. Both towns are idyllic places, filled with small businesses and homes. In both towns people love to fish, something that is treated as a source of friendship between grown-ups and kids. But the gangsters of the one film, and the typhoid and race hatred in the other, threaten to destroy the possibilities of harmony.

[Tourneur] is as exhaustive as Fritz Lang, in trying to find every interesting image possible in a scene, then staging the scene around it.

by ·Comments Off on Avanti! (1972, Billy Wilder)

Not the last film by Billy Wilder, though it feels like someone’s last film – he later made two Lemmon/Matthau comedies and a William Holden drama.

Katy disagreed with the romantic comedy term, saying just because a few funny things happen doesn’t mean it’s a comedy, and suggests the term dramedy as a solution. Long, static master shots are probably praised to the heavens by the critics responsible for landing this on the TSP1000 list for being elegant, masterfully composed, or god forbid, “rigorous”. I found that it sucked energy away from a too-slow movie, which was already disappointing for not being a comedy as advertised. That’ll teach me to trust the IMDB genre listings.

One of multiple chances to see Jack Lemmon naked:
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Okay, so it is a comedy, it’s just not very funny. Jack Lemmon travels to a vacation resort in Italy to pick up his father who died in a car crash and he meets Juliet Mills (mostly a TV actress, but she’d starred in a British comedy film a decade earlier) who is there to pick up her mother who died in the same crash. Jack is acting like a terrible, entitled jerk American but Juliet finally manages to corner him and tell him that their parents were having an annual affair at this hotel. It’s only a matter of time before she softens Jack and begins carrying on their parents’ affair with him – not that she does much besides smile and look like she’s having a great time. Oh, and there’s a half-hearted side plot when the Trotta family whose grapevines were destroyed by the car crash steal the bodies for ransom.

The Trotta family:
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The hotel maid is your typical fiery, hot-tempered, lovestruck movie Italian woman – she kills her husband (boyfriend?) for plotting to leave her, so when a U.S. government man shows up to help Jack, acting like the asshole Jack had been seventy minutes prior, Jack gives the guy a coffin with the dead Italian in it, and he and Juliet bury their parents together in Italy. It’s actually kinda sweet. “Avanti!” we learn at the beginning means “come in!” for door-knocking servants and hotel personnel, and inevitably for our romantic couple.

A big deal is made of Juliet being overweight:
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Carlucci, who runs the hotel and makes sure Lemmon has everything he needs, was played by Clive Revill, a New Zealander in a fake mustache who went on to voice the Emperor in Empire Strikes Back. Crude American diplomat Edward Andrews’ final role was in Gremlins. And at least one of the vineyard Trotta family was in a Fellini movie.

Carlucci with Jack:
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by ·Comments Off on The Power of Nightmares (2004, Adam Curtis)

Another 3-hour Adam Curtis documentary (no Yo La Tengo songs this time) and again it’s one of the most amazing, revelatory things I’ll watch all year. This time I didn’t take notes like I did with The Trap, so I’ll just have to take my word for it. I do remember that the founder of neoconservatism was a huge fan of television, especially Gunsmoke and Perry Mason. And that Al Qaeda doesn’t exist – or it didn’t until we invented it – I remember that. I wish I’d watched this when it came out. But however depressing it is that I’ve spent the last five years not knowing most of this stuff, that’s balanced by the joy of watching it when neo-cons aren’t in power in the U.S. at the moment.

SEPT 2021: Watched again, shortly before 9/11 XX – it holds up. Katy showed the third hour to her students and blew some minds.

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by ·Comments Off on Midnight (1939, Mitchell Leisen)

Claudette Colbert (pre-Palm Beach Story) is half broke, flees Monte Carlo for Paris then, stalked by her cab driver Don Ameche (who had the same mustache 50 years later in Coming To America), wins an awful lot of money on the craps table and loses it all a few seconds later.

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Now truly broke, she sneaks into a fancy dinner party and hides in the back room playing cards, catching the eye of John Barrymore, five years after Twentieth Century and just as insane and hilarious in this one, but in a much quieter way, acting mostly with his eyes. As his cheating wife, Mary Astor is as comfortable acting rich and desirable as she is in The Palm Beach Story, but she’s less loopy here.

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In fact, the whole atmosphere is quieter and less loopy than most so-called screwball comedies. Maybe the writers intended for this film to have more energy, more of a visual punch. I’m not sure, but Leisen’s (mis)treatment of Billy Wilder’s script caused an exasperated Wilder to become a director himself with The Major and The Minor – the same thing that happened a couple years earlier with Preston Sturges (Leisen’s Easy Living -> Sturges’s The Great McGinty). Can’t say that I see Wilder’s problem… the movie is pretty wonderful.

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Barrymore is on to Colbert’s ruse, so he hires her to seduce his wife’s boyfriend away from her, in a comic-but-touching attempt to save his marriage. She pretty much succeeds, but Don Ameche holds a city-wide manhunt to find her and somehow they end up together because stalking = romance in early Hollywood cinema.

They’re not major characters – I just liked the hat:
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A la Easy Living, it’s a movie where a regular girl is picked off the street and showered with money and nice clothes by a millionaire. Katy loves when that happens.

David Boxwell is comparing it to Rules of the Game:

In both films, the aristocrats walk away from the convulsive messes they make; but Midnight ultimately valorizes, in a predictable way for a Hollywood film, the ’30s populism embodied in Don Ameche’s character, the taxi driver Tibor Czerny. The film endorses the entrepreneur who arises from the working classes, since Tibor rejects whatever aristocratic heritage he has and is content to hustle just enough business to live happily. Indeed, it’s difficult to remember that he isn’t American, and Ameche, like the other American actors playing Europeans, makes no effort to adopt a foreign accent. And this being screwball comedy, Midnight lauds his eventual mastery over the knowing, independent, rootless American ‘gold-digger,’ whose material acquisitiveness sets the film’s comic plot spinning into high gear. …

The ease with which Midnight resolves the conflicts it sets in motion stands in stark contrast to the traumas of expulsion and death endured by some of the characters in Renoir’s film. In effect, if both films are ultimately about the degree to which a culture has the confidence to survive the inevitable upheaval of war, Midnight is an optimistic fantasy reassuring audiences of the superiority of American culture, however much it’s displaced onto a Europe that really consists of the process photography of a tourist’s Paris and some plaster Art Deco sets on the Paramount lot.

by ·Comments Off on Summer Hours (2008, Olivier Assayas)

The highlight for me here was Edith Scob. I only know her as the virgin Mary in Bunuel’s The Milky Way forty years ago, but she was totally recognizable as the deathbed matriarch here. I mean, yeah Juliette Binoche is always good, but Charles Berling (Scob’s costar in Ruiz’s Comedy of Innocence) was more the star here (and blonde L’Enfant star Jérémie Renier played their brother).

I heard this was a great movie, but right before it started I realized what I’d gotten myself into… an acclaimed family-secrets drama – surely another underwhelming handi-cam video a la A Christmas Tale or Rachel Getting Married. But no, fortunately this was the kind of filmmaking I can get behind, everything in order, with shaky cameras and close-ups only where necessary. Kind of surprising, really, that the director of hyperkinetic Irma Vep and Demonlover makes a classical-style family drama, but I’d seen Clean so I wasn’t too amazed. Another thing compared to the other recent dramas is that everything is supremely understated in this. Its themes are obvious, but they don’t come out in big emotional climaxes. The big payoff shot, Berling’s daughter framed in front of the family home, telling her boyfriend that she’s kinda sad that her grandmother is dead and the place is being sold, is tear-free and quickly interrupted and didn’t really hit me until a few minutes later in the parking lot.

Opening scene has three siblings at their mother’s house with Berling & Renier’s wives and kids (Binoche is too much the high-powered businesswoman to have time for a husband or kids), Scob talking privately about what will happen to the house and her possessions after she dies. Next scene a few months later, predictably, she is dead and the kids spend the rest of the movie deciding what to do with her house and possessions. It’s decided pretty easily that everything will be sold and the loyal servant (Isabelle Sadoyan, also a servant in Blue) will be dismissed, so there’s not much conflict, more the family members coming to terms with the property sale, the kids becoming the oldest living generation in their family.

by ·Comments Off on The Pajama Game (1957, George Abbott & Stanley Donen)

What’s up with Donen always having a co-director? Abbott was 70 at the time, and unless this is a misprint he lived to be 107.

A pre-Pillow Talk Doris Day is a workers’ union representative named Babe in a pajama factory, and Broadway actor John Raitt is the new middle manager Sid (but everyone calls him Sorokin – they’re into weird nicknames in this movie) who fires her. Seems like a fine setup for a romantic comedy if you ask me. I liked this, though I got complained at for falling asleep and had to finish it the next day. Katy didn’t like the songs, and a musical lives or dies by its songs, so it died. We both noticed the color was dull and drab, but IMDB people all rave about the bright colors, so maybe there’s a better DVD out there.

So yeah, Sid has to fire Babe, but she’s still on the union committee demanding a seven-and-a-half cent hourly raise, causing slowdowns and sabotage to shake up the owner, Mr. Hasler. This causes the committee (which consists of Babe, a heavy girl named Mae, a glasses guy who likes Mae, and a twitty nasal-voiced Marilyn-wannabe) to break into song and dance.

Sid also likes Babe, but doesn’t get much ground there. So he takes to stalking her friend Gladys (Carol Haney), the boss’s assistant, until he gets the key to the safe where the books are kept. I think he catches the boss embezzling money which had been earmarked for an employee raise six months earlier, and negotiates that they get their raise (non-retroactively) and nobody gets in trouble… which is sort of a copout, but maybe the movie didn’t want to appear too pro-union. Of course this means Sid gets the girl.

I told Katy that Carol Haney reminded me of Shirley MacLaine in Artists & Models. MacLaine was Haney’s understudy for this role on Broadway! I am good. Haney was great in this, and attention-grabbing with her dance to “Steam Heat” and singing on “Hernando’s Hideaway,” but this was her final film and she died of illness not long afterwards. Mae, unsurprisingly, didn’t have much of a Hollywood career, playing roles such as “angry lady”, “housing lady” and “fat lady.” Nasal-lady Barbara Nichols’ short life in film included Sweet Smell of Success and Beyond a Reasonable Doubt.

Sid Sorokin was nothing special, but Doris Day really came to life in this one. I liked Haney’s songs and the weird union plot and the neon signs that label everything in the pajama factory. Wasn’t keen on the playful comic romp of Gladys’s jealous husband Heinz chasing her around with a knife at the end, but overall found it a better-than-average musical.