by ·Comments Off on 12:08 East of Bucharest (2006, Corneliu Porumboiu)

Another drag of a Romanian movie making some sort of opaque political statement, this one by 50 Under 50 filmmaker Porumboiu. Won a couple of awards at Cannes the year before 4 Months, 3 Weeks and 2 Days had everyone talking about Romania.

A TV studio cameraman says handheld camera is “the new thing” until the presenter tells him “put it on the tripod before I whop you with it!” That might be Porumboiu’s thoughts on the matter, since his film is shot with locked-down cameras, drab framings through doorways. The program within the film is portrayed as pretty half-assed, with focus problems, making the uninteresting-looking main feature look more competent by comparison. Indiewire says the compositions are “elegant” and “lovely,” so they saw something I didn’t.

12:08 is what time president Ceausescu fled the capital by helicopter on 12/22/1989. On the anniversary, TV call-in host Virgil Jderescu invites a couple of guests (beardy prof Manescu and old man Piscoci) to discuss whether their small town participated in the revolution or simply followed it, defined as whether there were people in the square before or after 12:08. No serious conclusions are drawn, and at the end everyone shuts up and watches snow fall.

Jay Kuehner in Cinema Scope:

This quietly bravura set-piece manages to be narratively torpid and aesthetically flat, but nevertheless conceptually rich; it’s a sublime metaphor for the uses of history, how people make it as much as it makes people, and how received narratives often entail multiple and conflicting views. .. That Porumboiu stages the “action” on live television is surely not coincidental, as impromptu broadcasts from the seized television stations relayed the progress of the revolution, up to and including Ceausescu and his wife’s bloody end.

AV Club says the points are “whether a revolution can happen if nobody risks anything, and whether the long memories of small-town stalwarts can be both a blessing and a curse.”

by ·Comments Off on Only Angels Have Wings (1939, Howard Hawks)

I enjoyed watching this with Katy much more than I did in film class. Everything is worse when doing it in class (or everything is better with Katy).

Mail flyers in Argentina struggle with difficult terrain, disabled pilots, a love triangle, infighting and a contract saying they get new planes if they fly a few more difficult missions on schedule. Dutchy (Sig Ruman, covert nazi in A Night in Casablanca) owns the planes but Cary Grant gives orders to the flyers. Kid (Thomas Mitchell) is the oldest with poor eyesight, Joe (Noah Beery Jr.) dies early, Sparks is the radio man, I think Les gets injured (most of them do at some point) and Tex (Westerns actor Don Barry) sits in a booth warning of weather conditions.

New flyer Bat (Richard Barthelmess, star of Broken Blossoms and The Dawn Patrol, sort of Henry Fonda crossed with Peter Lorre) shows up putting everyone on edge because of a word-of-mouth story that he’d abandoned a copilot – oh, and he brings new wife Rita Hayworth, an ex-flame of Cary’s who doesn’t know the dead-copilot story. And Jean Arthur (You Can’t Take It With You, Easy Living) was just passing through until she caught sight of Cary Grant, then follows him like a puppy for two hours trying to get him to tell her to stay, refusing to leave until he does, a catch-22 that works out romantically at the end.

Hawks and Cary Grant made this between Bringing Up Baby and His Girl Friday. Thomas Mitchell (The Kid) won best supporting actor as Doc in Stagecoach, also played the plantation owner (Scarlett’s dad) in Gone With The Wind, king of the beggars in The Hunchback of Notre Dame, and appeared again with Jean Arthur in Mr. Smith Goes To Washington – all in the same year as this movie.

EDIT 2024: Watched again… a movie about a rude attack on some birds… and their revenge.

by ·Comments Off on Mirror (1975, Andrei Tarkovsky)

An unseen narrator is flashing-back to his childhood in 1935. Since Tarkovsky made his first feature in the early sixties and this one is called Mirror, I’m going to assume it’s partly autobiographical. It’s also his Tree of Life – deeply-felt fragments with no easily-readable storyline. I might have missed some and misinterpreted the rest, but here are the episodes as I saw them:

1. A stutterer is cured under hypnosis. Sepia-toned film, shadows of camera crew visible, and neither character appearing in the rest of the story, because this episode is watched by the young protagonist on television.

2. color, a lost doctor talks to a woman at her house while two shaved-headed boys watch drowsily from a hammock. He leaves, turns back as a great gust of wind blows through the grass. I could watch this segment all day.

3. color, the barn burns down. Long takes bring The Sacrifice to mind.

4. b/w, woman wet hair vamping like The Ring monster, the house crumbles around her like a Low video, older woman appears in mirror reflection.

5. color, Alexei talks to his mom over phone, an Andrei Rublev poster on his wall. “Remember the hay-loft that burned down at the farm?”

6. b/w, woman proofreader thinks she’s made an error, runs through a printing press to check and it turns out okay but then everyone insults her. I think she is called Marousia, or Masha.

7. color, unseen man talking to ex-wife who reminds of his mother (same actress). “When I recall my childhood and my mother, somehow she always has your face.” Their son is Ignat. Wife might be Natalya. b/w news footage interlude.

8. color, Ignat has deja vu, then sees people who might not exist when left alone, talks to dad on phone.

9. color, a boy, maybe Ignat or his dad when young, in army training, notices girls, throws a fake grenade. War footage in b/w.

10. color, bird lands on freckly boy’s head

11. color, the mother/wife works in a ruined room.

12. b/w, Ignat’s unseen father wants Ignat to live with him, but ex-wife and Ignat disagree, dad says Ignat is stupid and recommends the army. Flashbacks and dreams: a bird flies through a windowpane.

13. color, mom comes to visit relative of the doctor – same one from first scene? Tells doc’s wife “a ladies little secret” while boy is alone looking in mirror. Red-haired girl might be Alyosha. They both feel sick. A chicken is killed.

14. b/w, a woman levitates

15. color, shaved-head kid talking to mom at farm, but mom is the old woman from reflections in #4.

16. color, doctor looking at sick guy, we see his hand holding a little bird

17. color, young woman lays on some guy in field, while two kids walk with older woman.

RW Knight for Reverse Shot:

Each event-that is, each cut, each encounter, each memory flashed back or forward-in the film’s networked composite is skewed by the film’s narrator. This narrator is the camera, and the film. His face is never seen. We are denied an identifying reverse shot. We are simply presented with his point of view: the identification is our instantaneous assimilation. His disembodied voice, weathered and granular, presides over the whole body of the work. His body is the work: the film and the guiding frame of the film. Occasionally when reading poetry the voice-over registers differently than when heard talking to other characters from outside the frame, but it still sounds like the same man. In fact, there are two voices: the poet-narrator is voiced by Arseni Tarkovsky, the director’s father, while the strictly first-person-narrator/character is voiced by Innokenti Smoktunovsky, the “first international Russian film star” (according to imdb.com), one of many point of view refractions. As identities merge in the film (father becomes son while mother becomes (ex-) wife and the son becomes his father in youth) they overlap in reality as well: the real father becomes the film star, and vice versa, incorporating their identities in the film, and its maker.

TCM summarizes:

The Mirror forgoes a conventional narrative structure, instead weaving together loosely autobiographical reminiscences, dreams and newsreel footage to suggest how the past is reflected in the present, both on a personal and on a larger historical level. … As a further personal touch, his real-life mother Maria appears as the mother in old age, his wife Larissa appears as the doctor’s wife to whom the mother sells an earring, and his stepdaughter appears as the red-headed girl with whom the narrator falls in love as a young boy.

Some good wind, and fire. Slow motion. Objects move by themselves, sometimes mysteriously just before an edit. This is the closest Tarkovsky came to making The Shining.

Begun in 1968 then interrupted to make Solaris. Appears in the Sight & Sound directors poll top-ten (and critics poll top-twenty). Probably not my favorite Tarkovsky movie, but neither would I mind watching it again right this minute.

by ·Comments Off on Muriel’s Wedding (1994, PJ Hogan)

So this is where Toni Collette came from. She plays a loser from a hopeless family in a nowhere town trying to impress her nobody friends, who moves to the city and finally (and convincingly, not all-at-once in a cheap montage) finds herself (alongside dark-haired friend Rachel Griffiths). Writer/director Hogan later made My Best Friend’s Wedding and a version of Peter Pan.

by ·Comments Off on The Strawberry Blonde (1941, Raoul Walsh)

We got a Roku and I’m filling an attached USB drive with classic movies to watch, dubbing it the “TCM drive”. Of course we always could have watched these same movies by hooking my laptop to the TV, but now it’s ever-so-slightly easier, so we celebrated by watching a couple and pretending we still get cable (I forgot to do my Robert Osbourne impression to introduce them).

Girlish weakling James Cagney is saddled with a tough-guy’s name (Biff Grimes) and an embarrassing womanizing drunk for a dad (Alan Hale, atheist farmer in Stars In My Crown). Biff’s only friends are ambitious scammer Hugo (Jack Carson, somewhat-star of Red Garters) and genial Greek barber Nick (George Tobias, in Sergeant York the same year). Cagney can’t get a girl, can’t keep a job, is studying to be a dentist because all his life his dad has blamed his poor behavior on pains in his teeth.

Cagney gets a single date with the hottest girl in town, titular blonde Rita Hayworth (Lady From Shanghai) and blows all his money on her, but as Jack Carson gets more successful, Rita ends up with Jack, and Cagney marries her pretend-feminist friend Olivia de Havilland (Cagney’s Midsummer Night’s Dream costar). Cagney is bummed, but of course Olivia is just as pretty and much nicer, so we know he’s being a dummy.

Given a vice-president job at Carson’s firm, Cagney is set up as the official scapegoat when cheap building materials lead to the death of his own dad (“my teeth don’t hurt anymore”), spends five years in prison getting his dentistry degree by mail and practicing on other inmates. He returns home to his loving wife and to the sunday afternoon framing-story, where he sees Carson as an emergency patient, and instead of killing him with nitrous oxide, realizes Cagney’s got the better life than his rich ex-friend since Rita Hayworth is a materialistic shrew.

I think Una O’Connor played a friend of Cagney’s dad and George “Superman” Reeves was a friend of Carson’s, but neither made an impression.

Based on a play from late 20’s, also filmed in 1933 with Gary Cooper and Fay Wray, redundantly in 1948 with Alan Hale Jr. and Raoul Walsh, then on TV in ’49 with Burgess Meredith, ’51 with June Lockhart and ’57 with Gordon MacRae. Adapted here by the twin Epstein brothers who wrote Casablanca and shot by James Wong Howe.

by ·Comments Off on Belle of the Nineties (1934, Leo McCarey)

Just as narratively complicated as The Strawberry Blonde but with 100% less weight – a fluffy Mae West comedy written by a fluffy Mae West and directed by McCarey, who could surely handle this after dealing with the Marx brothers in Duck Soup. Mae gets all the attention, massive hats, punchlines and glamorous lighting, and there’s nothing else to say about the filmmaking – except for one amazing scene. She has given a few bucks to her maid Libby Taylor (also Mae’s maid in I’m No Angel), who goes down to a musical prayer meeting at the river while Mae stands in her window above the river singing her own song – as the songs collide and blend, so do the visuals.

Anyway the plot is ridiculous – Mae likes a boxer (Roger Pryor, son of bandleader Arthur) but pretends to dump him during training and moves to New Orleans where she continues her hit stage show of standing silently in huge costumes subtly moving her hips to rapturous applause (she also sings sometimes). The boxer comes to N.O. to fight the champ, and Mae’s promoter (professional mustachioed villain John Miljan) is ripping her off. Mae spikes her boyfriend’s water, causing him to lose the fight and ruining Miljan financially – then as his theater burns down, the boxer kills Miljan, and somehow all this is okay and they end up together.

There’s also a rich beau, a damsel in distress, and Duke Ellington, who appears on piano but wrote none of the songs. We didn’t know what instrument Duke plays or what he looks like, so weren’t even sure that he was in the movie.

Wikipedia: “A publicity stunt went awry when 50 parrots were trained to shout the original title of It Ain’t No Sin. The parrots were subsequently released in the jungles of South America still repeating ‘it ain’t no sin’ over and over again.”

by ·Comments Off on A Night to Remember (1958, Roy Ward Baker)

An ensemble version of the Titanic story without the James Cameron love story – in fact, with no lead actor at all, just a lead event. Second officer Kenneth More is first billed, followed by a hundred British actors I’ve never heard of (makes you realize just how few British actors appear in the Cameron version), and supposedly Sean Connery and Desmond Llewelyn in bit parts. A quality film, the biggest British production of the 1950’s, made as accurately as possible based on survivor accounts. Seems pioneering in that respect, that it’s a massive studio film meant to be a true-to-life account without big stars or melodramatic additions.

Roy Ward Baker (not yet fallen to the depths of Legend of the Seven Golden Vampires) mixes in footage of the Mauretania and from the 1938 launching of the Queen Elizabeth, plus scenes from a Nazi-made Titanic movie. We spotted some dialogue recycled by Cameron, who reportedly loved this movie. Won a golden globe in the forgotten category “best english-language foreign film” (the only other winners: Richard III in ’56 and Woman in a Dressing Gown in ’57).

by ·Comments Off on The Cloud Door (1994, Mani Kaul)

Lovely, colorful 30-minute movie. Main character is a ringneck parakeet who escapes from a lonely princess, flies away to be captured by Irfan Khan (he’s asleep and has no lines). The bird, who speaks as fakely in Hindi as Hollywood parrots do in English, convinces a pretty goth boy to release it and leads him to the princess. Sensual-looking movie, with more bare breasts than I’ve seen in an Indian movie before, and a longer-held close-up on a navel than I’ve seen in any movie. Katy didn’t get it, and NY Times agreed, calling the movie: “a succession of brightly colored images that almost tell a story.” Somehow this is based on three different literary sources, despite its short length and basic story. I’ve read that Mani Kaul was a great artist, never checked him out before.

From Upperstall’s bio: “undoubtedly the Indian filmmaker who along with Kumar Shahani has succeeded in radically overhauling the relationship of image to form, of speech to narrative, with the objective of creating a ‘purely cinematic object’ that is above all visual and formal.”

by ·Comments Off on An American In Paris (1951, Vincente Minnelli)

We’ve got three guys who live in the same building over a cafe: painter Jerry (Gene Kelly), pianist Adam (Oscar Levant of The Band Wagon and The Barkleys of Broadway) and semi-rich guy Henri (French singer Georges Guetary). Each has a backstory, love and career aspirations, but only one is Gene Kelly so we don’t spend much time with the other guys.

The ladies: Leslie Caron (whom I recently saw in Surreal Estate) has a killer introduction via musical dream sequence. After Gene acts stalkerish towards her (as we know from watching classic movies, this is the correct approach) she starts to fall in love with him, but whoops, she’s due to marry Henri who once saved her from nazis. Rich, overconfident Nina Foch picks up Gene as his sponsor, then starts to act possessive.

So Gene and his two women take up most of the plot, but surprisingly Oscar gets a long dream sequence of his own, where he plays a dramatic piano piece conducted and accompanied and viewed by other Oscar Levants (someone has been watching Keaton’s The Playhouse). At the end Gene finds out about the whole nazi thing and grudgingly lets his girl go, then proceeds to dream himself a massive, astounding ballet (IMDB confirms Gene was a big Red Shoes fan). Sometime during the ballet Leslie must’ve had a heart-to-heart with Henri, because he brings her back to Gene at the end, leaving one happy couple, two broken-hearted rich people, and one lonely, out-of-work Oscar Levant. Then one assumes Nina pulls her sponsorship so Gene never gets his art show, and the couple lives off Leslie’s perfume-counter pay in their tiny apartment.

Written by major songwriter Alan Jay Lerner (My Fair Lady) and directed by Minnelli between The Pirate and The Band Wagon. The songs have a rocky start with the unintelligible By Strauss, then Gene’s got a great routine for I Got Rhythm but there are children interfering with the song. Finally Gene and George get in a nice version of ‘S Wonderful halfway through. Oh and Gene and Oscar sing one in the apartments where Gene dances in a doorway. But really it’s all about the three dream sequences.

J. McElhaney in Senses of Cinema:

Chris Marker has stated that when he, Alain Resnais and Ghislain Cloquet were in London in 1952 filming Les Statues meurent aussi they began every day by attending a 10am screening of An American in Paris. An American in Paris: a film which, apart from a few second-unit shots, recreates Paris entirely on Hollywood soundstages and the back lot; Les Statues meurent aussi: a documentary short on what happens to African art when it is exhibited in museums where it loses its relationship to the folk culture from which it sprang and as a result becomes lifeless, part of the “botany of death that we call culture.” In a larger sense, the short is also about the nature of art and what it (along with science and religion) means to us in our fight against death, becoming the “instrument of a desire to seize the world.” There are, of course, many ways for an artist to seize the world and consequently many ways for the artists we sometimes call filmmakers to do so as well, through the most rigorous of documentaries to the most stylised of musicals. Marker does not go into detail as to what it was he and his collaborators got out of this daily ritual of watching An American in Paris except to note the “lightness” that they felt watching the film. Consequently it may have been nothing more than a refuge from the seriousness of the work on their own obviously very serious film. But let us suppose for a moment that what these three French filmmakers saw in the faux French world of An American in Paris was a cinematic universe parallel rather than antithetical to their own, one equally possessed with a desire to seize the world and equally concerned with its own version of the “truth” but paradoxically articulating it within the realm of artifice. In the midst of a review of Francis Ford Coppola’s musical One from the Heart Serge Daney describes Coppola as working within the Minnellian idea “that a good illusionist does not ‘break’ the illusion, but constantly multiplies it, ad infinitum. The truth of a mask is not the face but an excess in the mask .. Two minuses make a plus. Two falsehoods make a truth”