“Real diamonds! They must be worth their weight in gold!”

Tony “Joe(sephine)” Curtis and Jack “Jerry/Daphne” Lemmon are musicians on the run from Spats Colombo after witnessing a hit on one Toothpick Charlie, so they dress as women to hide out on tour with an all-girls band in need. Hilarity ensues.

Considering this is One Of The Most Excellent Films In The History Of Film, I found it disturbingly non-excellent.

I mean, great dialogue, and funny jokes, and Marilyn Monroe and all… but really, one of the best movies ever made? It’s on the AFI list, but not on Rosenbaum’s list so I guess not everyone agrees.

I’m sure the sexual jokes and situations were ahead of their time and paved the way for the 20-some cross-dressing comedies that play the Landmark every year.

Really a fine movie… don’t know why I’m so grumpy about it. Gonna leave it alone now.

“You’re a bit thin for someone who likes food.”
“I don’t like food; I love it. If I don’t love it, I don’t swallow it.”

Another top-notch excellent film from Brad Bird and Pixar.

Some gripping action sequences, like when our hero first ventures into the restaurant and hops from cart to cart to floor to table. Perfect image, not as consciously stylized as The Incredibles of course. Great story + characters, satisfactory ending. What more could a rat desire?

I liked the miniature, fat imaginary chef that would appear to Remy and lead him places… but of course the power was within Remy all along, making the chef a sort of Yoda to Remy’s Luke.

“100% Genuine Animation! No motion capture or any other performance shortcuts were used in the production of this film.”

I was gonna go on about similarities between Gordon/Mamet’s Edmond and Freaks, but I guess that doesn’t make much sense.

Katy is hung up on how the freaks turned the wicked trapeze artist into a chicken lady, but it is a “horror” movie, so we’ll just say the Human Torso has transformative magical powers.

image

Wallace Ford (Phroso the clown) was in tons more movies, incl. Anthony Mann’s Man From Laramie and Hitchcock’s Spellbound.
Good-girl beauty Leila Hyams was in Buster Keaton’s Spite Marriage, Browning’s 13th Chair, Leo McCarey’s Ruggles of Red Gap, then she never acted after 1936.

Evil trapeze girl Olga Baclanova was in The Docks of New York and not many sound films because she moved to Broadway for a decade before retiring.
Hercules Henry Victor got huge in the 40’s playing evil nazis in every Hollywood movie that would take him before dying of a brain tumor in ’45.

image

Short couple Hans and Frieda were actually siblings. He was in Browning’s Unholy Three and both of them were munchkins in The Wizard of Oz.

image

Those twins actually were conjoined.
The human torso was sixty-one when the film was made!

One of the greatest weird movies everywhere. Rob Zombie loves it.

image

A sad ending to Anderson’s famed trilogy that began with If… (which I did not watch this week because Vdrome didn’t get it in) and O Lucky Man! (which I half-remember from watching on tape five years ago – a musical, right?).

If the first of the trilogy mixes “color and black and white as audaciously as it mixes fantasy and reality” and “remains one of cinema’s most unforgettable rebel yells”, according to Criterion, and the second was a fun, “surrealist musical [which] serves as an allegory for the pitfalls of capitalism”, according to the IMDB, then what’s left for this little apocalyptic satire? It feels flat, unfunny and bizarrely plotted, with Malcolm McDowell barely present and not much holding the whole thing together.

image

The final scene (after M. McD’s beheading death) features a long dull speech railing against all of human society by a mad scientist (Graham Crowden of O Lucky Man and The Ruling Class) who unveils a computer named Genesis that will somehow solve everything. Before that, McDowell is an ineffectual investigative reporter, with stoned colleagues Mark Hamill (post-Big Red One, pre-Jedi) and Frank Grimes.

image

Movie felt sucky at the time, but it had noble intentions, throwing all of British society into the title hospital, staging a joint protest against both the way the country (err, hospital) treats its less-wealthy citizens, and the way it coddles corrupt and brutal foreign dictators. It’s against both the boss who expects too much and the worker who provides too little, it makes a small mockery of the royal family (midget and tranny royal reps) but shows the Queen’s handlers to be resourceful, sneaking her past the mob incognito, it tosses hatred at the labor unions (portrays them as killing patients through negligence and unnecessary regulations) and it throws some police violence, mob rule and frankenstein medical experiments into the mix. The lead actor is actually hospital director Leonard Rossiter, who mostly keeps his composure, except when he murders a striking electrician to turn the hospital’s power back on.

image

Best online source I could find on the film, an unsigned article on britmovie.co.uk site, sums up:

The question posed at the end of the film is ‘Is man intelligent enough to survive?’ The speech concluding the film is not sentimental; it’s much more the speech of an angry rationalist who is appalled and irritated by the stupidity of mankind. He proposes that the only solution is intelligence. But, of course, having made this speech, which most people would agree with, he then proposes a solution that is even crazier and more horrifying than anything the establishment represents. He produces the idea of a disembodied intelligence, this brain we see, which he tells us will be combined into a silicon chip. So, the challenge at the end is a question, If only intelligence can save us how can that intelligence be controlled? The film does say, I hope, that we must mistrust institutions, power, the instincts for power within us, and in that way I think Britannia Hospital is an anarchist film. It puts the responsibility squarely on the individual to develop first the intelligence and the moral awareness by which alone man can control his destiny.

The film’s location manager is quoted as saying “Unlike a lot of directors, [Anderson] doesn’t make films just for money but because he has something to say.” This was clearly a low-budget effort, with big stars (McDowell, Hamill) working for free, and the film had too much of a social conscience to dismiss by saying “ehh, the plot didn’t grip me and McDowell wasn’t in it enough and it was too disjointed” and give it the C- rating it may deserve on the grounds of a pretty poor final product. I’m upgrading to a B- for honorable intentions.

Lead actor (hospital director) Leonard Rossiter would die of a heart attack in 1984, with director Anderson following a decade later.

image

Apparently seeing this movie four times is not too many, because I still enjoyed it. Katy liked it too. An underloved comedy classic.

Although now that I’ve heard the commentary, I spend a lot of time thinking about how cold it might be during the scene, and whether it’s raining.

Michael Showalter and David Wain’s next movie The Ten is coming soon.

These days, Jeaneane Garofalo’s voice is starring in Ratatouille and David Hyde Pierce is in nothing at all. Marguerite Moreau (the hot one) was the lead in Firestarter 2. Cafeteria worker A.D. Miles starred with Zach G. in fake-news show Dog Bites Man. The dick who dates the hot girl, Paul Rudd, is in Knocked Up and everything else. Lead cafeteria guy Gene (Chris Meloni) must’ve been unstable and Christopher-Lloyd-looking enough to land a part in Oz and both Harold & Kumar movies. Post-breakup pedophiliac counselor Molly Shannon starred in Year of the Dog. The drama counselors are apparently-hot-right-now SNL comic Amy Poehler and the CIA contact in Alias, Bradley Cooper. Cameo (as Molly’s ex-husband) by comedy guy Judah Friedlander, who will apparently be in Cabin Fever 2, and of course, the most famous person who has ever screamed at my brother in public, Jon Benjamin as the can of vegetables.

Related shows I miss:
The State
Viva Variety

Related shows I never really watched:
The Baxter (m. showalter movie)
Reno 911
Stella
Tom Goes To The Mayor

The extremely cute Diane Franklin (Monique) later starred in Terrorvision (with Jon Gries – Uncle Rico in Napoleon Dynamite) and played a princess in Bill & Ted’s Excellent Adventure.

Paperboy who wants his two dollars isn’t in anything else, sadly.

Funny damned movie, a little slack but still good. The racecar brothers, one of whom speaks no English and the other speaks like Howard Cosell, are the best part. Jimmy and Katy liked it, I suppose.

You hear about “cult films” and films with “a cult following” a lot, but where are these cults? Is there a basement in Des Moines where ten or twelve people get together monthly to watch Richard Elfman’s Forbidden Zone? Maybe a club in Montreal that meets at a different member’s living room every wednesday night to watch a different Mario Bava movie from one guy’s prize collection of DVDs and bootleg cassettes? An Alejandro Jororowsky society in Mexico City that watches a 16mm print of El Topo once a year followed by a ritual sacrifice of farm animals?

If these movie cults literally exist, I just hope there’s one for Werner Herzog.

“Little” Dieter Dengler was about seven when WWII ended. He lived through the rebuilding of Germany, when people were boiling and eating wallpaper to get the nutrients that were supposed to be in the glue. Later became a blacksmith’s apprentice and worked at a machine shop. Got toughened the hell up by all these experiences and finally left town for the first time ever to head to America and become a pilot at age 18. Joined the air force, worked shit jobs for a few years, then quit to get a college degree, become a citizen and join the navy where he finally started flying, which is all he ever wanted to do. Got sent right away to Vietnam, and first mission he’s shot down and captured over Laos. It gets hairier from there, with deadly escapes and all the adventures that Herzog’s upcoming Rescue Dawn will be recreating. Died in Feb 2001, and there’s a “postscript” scene of his funeral on the DVD.

image

Dieter lived an exceptional life, went through very extreme ordeals, and had a single driving obsession (to fly), all making him such an obvious Werner Herzog protagonist that, a decade after shooting this documentary, Herzog is returning to the same story with Rescue Dawn.

Never one to make a “straight” documentary, interviewing Dieter and his war buddies at a neutral location, zooming in slowly on old photos and showing stock footage… no, Herzog does all that, but he also takes Dieter back to Laos. Herzog “helps” Dieter re-enact his own capture and imprisonment with props, locations and some willing Laotian men. What a terrible, wonderful idea. Dieter seems totally up for it, never breaks down into post-trauma sobbing sessions, just reports his history matter-of-factly, with Herzog’s voice occasionally coming in to ask questions or observe in his godlike way.

image

(Grizzly Man connection) Dieter: “Duane, my friend, he was gone, and from then on my motions, my progress, became mechanical. In fact, I couldn’t care less if I would live or die. But then later on, there was this bear, this beautiful bear that was following me. It was circling me in fact sometimes. It was gone and I missed it. It was just like a dog, it was just like a pet. Of course I knew this bear was there, he was waiting to eat me. When I think about it, this bear meant death to me. And it is really ironic. That’s the only friend I had at the end, was death.”

But… Herzog: “Dieter took an early retirement from the armed forces and became a civilian test pilot. He survived four more crashes and flies to this day. Death did not want him.”

image

Completely awesome movie, short and gripping and moving. I might not join the Herzog cult (they’d never stop talking about the relationship between man and nature, and they probably all have dangerous and bizarre obsessions) but I’ll sure watch more of his films.

Unfortunately I returned this before I could get screen captures.

Lots of new-age philosophy collides with commentary on communist Yugoslavia in a way that doesn’t make much sense but involves much nudity.

Seems like this would be a fun movie, but I’m alarmed to say that I enjoyed watching critically-derided El Topo a second time more than I enjoyed seeing this acclaimed masterpiece once. This felt like a dated study or presentation, an essay of some sort. Ugly, non-sexy nude scenes in ugly, non-sexy locations, stock or documentary footage, handheld graininess and a bunch of stuff I didn’t understand. I must have missed a lot… didn’t check out Raymond Durgnat’s mash-up commentary or J. Rosenbaum’s booklet essay, so I don’t know what to do with this one, other than to compare it unfavorably to Jodorowsky and Underground and maybe rent Sweet Movie sometime to give the filmmaker another chance. Senses of Cinema: “Makavejev’s stated aim in Sweet Movie was to combine Eisensteinian montage with Buñuelian imagery.”

The film starts out talking about Wilhelm Reich, a therapist whose methods didn’t make much sense to me… his life, his followers and family, and how he was mistreated and ultimately died in prison. Blends into a tale of two women (roommates) and their chosen lovers and sexual politics. One of them is dating a stand-in for Lenin, an ice skater who finally beheads her and then sings a nice song to close out the film.

SoC: “The discontent of the New Wave auteurs was often toward the construction of fixed meanings through the approved systems of film language: Socialist Realism, Left-approved ‘orthodox’ Neo-Realism after 1948, wartime propaganda. Film should remain open to reality, be an aspect of that reality, and so incorporate the paradoxical, the contradictory, the ambiguous. In the East Bloc, this was a return of the repressed: the bourgeois “mystification” and dissembling that A. A. Zhdanov had railed against in 1935 at the First Soviet Writers’ Congress and the establishment of Socialist Realism. New Wave films should be, in Umberto Eco’s term, ‘Open Works’.”

Katy and I liked this one, a musical almost-romance drama about a struggling musician in Ireland.
We even bought the soundtrack.
On vinyl.

Not much to this one, plot-wise. Street musician (but with job, family, home) performs in the evenings, gets attention of young married immigrant mom with an ear for harmonies who practices piano in a shop. They encourage and inspire each other, he decides to pursue his dreams and record a demo, gets together some other guys and they hit the studio. Engineer is impressed by their sound, hangs out and helps all weekend. Guy goes his own way, girl reunites with her husband, and guy gets her a piano as a parting gift.

A not-quite-love-story… don’t think the two leads so much as kiss (maybe once), but they have more mutual respect than in most true-love movies. “Guy” (no character names) is Glen Hansard of The Frames and “Girl” is 18-year-old Czech musical collaborator Markéta Irglová. Nobody else I’ve heard of, writer/director included (turns out he’s a member of The Frames). Beautiful movie, plays each song all the way through, lingers long enough on each scene, each moment, well acted and written, with more restraint and emotion than one could rightfully expect from an indie musical.