by ·Comments Off on Scrooge (1951, Brian Desmond Hurst)

An improvement on the poop-joke semi-improv version of A Christmas Carol (co-starring Jesus Christ) that we’d just watched at a local theater. This is kind of a weird adaptation, in that it adds new scenes that didn’t appear in the novel, as if we wouldn’t notice. Most of them are in the Christmas Past segment: Scrooge and Marley taking over Fezziwig’s company, Marley’s death and some stuff involving Scrooge’s sister and girlfriend.

Any Christmas Carol adaptation hinges on the performance of Scrooge, and Alastair Sim (of The Ruling Class, ugh) was such a great one that I’m figuring it’s the main reason this is considered to be the best film version of the story. It wasn’t the additional scenes or any showy camerawork (except the introduction of Christmas Future – that was pretty great) or special effects. But a very satisfying movie overall.

Alastair Sim and housekeeper on Christmas morning:

Director Hurst worked on Korda’s The Lion Has Wings (but not Thief of Bagdad) and screenwriter Noel Langley had been the principal writer on The Wizard of Oz. Mervyn Johns (The Sundowners, Day of the Triffids) was solid as Bob Cratchit and Michael Hordern was unassuming as Jacob Marley in flashback, but he was howlingly flamboyant as Marley’s ghost (later, Hordern was more appropriately cast in comedies, like Yellowbeard and The Bed Sitting Room).

Michael Hordern as the ghost:

by ·Comments Off on The Furies (1950, Anthony Mann)

Walter Huston (John’s father, in his final role) is a slightly less grotesquely comic version of Egbert in Ruggles of Red Gap, a rich, eccentric cowboy. His extremely strong-willed but beloved daughter Barbara Stanwyck (soon before Clash By Night) argues with him over practically everything, finally scheming to swindle him out of his land as revenge for an argument taken too far. She has a brother (John Bromfield) who is introduced at the beginning but practically disappears from the movie, since he’s a decent, unassuming fellow and Stanwyck and Huston are commanding our attention at all times.

Complicated, exquisitely shot and acted movie, obviously based on a novel (I can’t explain – it just smells novelistic). Stanwyck and Huston have a near-incestual rivalry. She loves Juan (Gilbert Roland, who played bandit The Cisco Kid in six movies) who lives illegally on Huston’s land, and Huston marries gold digger Flo (Judith Anderson, sinister housekeeper in Rebecca). But after Stanwyck stabs her new stepmother in the face with scissors (!), Huston has Juan killed. Katy and I lost track of exactly how Stanwyck then claimed possession of her father’s land. She cozied up to rich gambler Rip (Wendell Corey, Janet Leigh’s dull boyfriend in Holiday Affair) then bought up her father’s outstanding I.O.U.s around the country and used those as payment when he sold off his animals, but then how did that prevent the bank from repossessing the land?

This is the first movie I’ve seen by Mann, who made three other movies in 1950, at least two of them considered great classics. That’s just how it used to work.

R. Wood for Criterion:

All of Mann’s westerns—unlike, for example, John Ford’s—suggest deep psychological disturbance, but those currents never again manifest themselves as blatantly and explicitly as they do in The Furies. Mann’s westerns … show little interest in history or in mythology; they are grounded in a fallen world of existential struggle in which the villains often become the heroes’ dark shadows. Typically, when he shoots down his enemy, the Mann hero experiences not triumph but exhaustion, almost prostration, as if he had forfeited a part of himself, his manhood.

by ·Comments Off on White Material (2009, Claire Denis)

More of a narrative than in 35 Shots of Rum, and more clearly defined than in The Intruder, but still with the shuffled chronology. It’s kind of an action thriller, though it undercuts the tension by showing us the fates of certain characters at the beginning. So, will Huppert make it to the village? Yes, because we’ve seen her future, days later catching a bus to the plantation. Will the boy with the spear kill her son Manuel as he floats in the pool? No, because we’ve seen his future, burning to death in a building. Not as softly sensual as some other Denis movies, the handheld motion-blur offering more eyestrain than intimacy.

The great Isabelle Huppert is Marie, who runs her aged father-in-law’s coffee plantation (he is Michel Subor, star of The Intruder) along with her relative (brother?) Christophe Lambert (who looks a lot like Christopher Lambert from Highlander and Mortal Kombat, only this guy is pretty good and speaks French) and her son Manuel – although I’m not saying Manuel helps run anything. He stays in bed all day, slowly going nuts. She’s strong and self-sufficient, works very hard for her coffee crop, but hers is the only white family for miles around their gated house with leather sofas, while the field workers live in a hot bunkhouse with a shared flashlight. So when rebels and military forces collide in town, neither is on her side. Isaach De Bankolé (Limits of Control, Casa de Lava) plays the most mysterious character, “The Boxer”, an inspiration to the rebels who is wounded from the start of the movie, arrives in secret at the coffee plantation and dies there of his wounds a day or two later.

Shot in Cameroon but set in an unnamed African country. I appreciated some of the similarities between this and other African-made films I’ve seen, such as portable radios being an important story element. Katy didn’t join me, somehow uninterested in a film featuring African children taking arms against colonialism. It’s probably my fault for spoiling her on Isabelle Huppert with Merci pour le chocolat and on Claire Denis with Friday Night, though I still don’t see why either of those should be disliked. I have a hard time finding serious foreign movies that she’ll enjoy. Nominated for the top prize at Venice, while 35 Shots of Rum, which I liked much better, wasn’t nominated for a damn thing.

Denis, asked why Huppert kills elder Subor with a machete at the end: “They’re both left, and I think she feels someone is responsible for letting everything happen. Maybe it’s weakness, or everyone’s blindness. But she needs to do something terrifying.”

Mubi: “Denis is too sexy to be considered disjunctive, but White Material is certainly her most jolting movie, since it traces the impression of a person experiencing nothing but breakdown—in bonds, in society, in people themselves—but somehow cannot see what is happening right in front of her. … Things like relationships and motivation all seem under-defined within such a clear-cut plot, but that may be because Marie’s fate is inescapable precisely because she can’t feel or see the nuance and meaning below the surface of her life. White Material keeps it on the surface precisely because that is the quintessential failure of its colonial heroine.”

by ·Comments Off on Lord of Illusions (1995, Clive Barker)

“I was born to murder the world.”

Watched for about the fifth time whilst trying to think of something to write about Johnny Guitar. It’s not a great movie, mostly because of pacing problems and dull dialogue scenes, but it’s better than most. Barker shoots plenty of shirtless men in S&M-inspired gear and he’s full of neat visual ideas, but needed about twice the budget (not likely for a Scott Bakula-starring horror) to pull it off. I still enjoyed it significantly more than Capra’s Meet John Doe, which I half-watched with Katy, the poorly-encoded soundtrack burbling out endless long speeches. Detective Scott Bakula was yet to achieve his post-American Beauty comeback, Magician Swann (Kevin J. O’Connor) would play Dr. Mindbender in the G.I. Joe movie, the girl went on to play Jean Grey in the X-Men movies, and evil baddie Daniel von Bargen is best known for having a cheesy line in The Postman.

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A silly-ass buddy western with inappropriately jaunty Burt Bacharach music (including a bonkers musical romance scene set to “Raindrops Keep Falling On My Head”). If I was watching this movie in a void I’d assume it was so tonally off-base that it diminished the Western genre permanently until it was finally killed off with Clint Eastwood’s dire Pale Rider. But no, the internet tells me this is one of the AFI’s and IMDB’s best-loved films of all time. What gives? That’s not to say the movie doesn’t have its pleasures. The buddy banter and some of the action scenes (especially an awesome train explosion early on) make the whole thing worth sitting through.

Both Butch (Paul Newman, not long after Cool Hand Luke) and Sundance (Robert Redford, not long before The Candidate) love the same girl, Etta (Katharine Ross, Dustin’s younger love interest in The Graduate). That and the freeze-frame ending make me think director Hill and/or writer William Goldman were Truffaut fans. Conventionally edited (for the late 60’s) with the deaths abstracted away, mostly happening distantly or off-camera – who’d have known The Wild Bunch came out just a few months earlier? I’d find coincidence that the movie’s anti-heroes were hunted down and killed in Bolivia just like Che, except that both movies were based on true events, so instead I’ll just remember not to flee to Bolivia if I’m in trouble.

by ·Comments Off on My Darling Clementine (1946, John Ford)

A very good Wyatt Earp/Doc Holiday movie. Earp (Henry Fonda) is retired from the legendary fastest-gun-in-the-west lawman business, running cattle with his brothers, until his cattle is stolen and his youngest brother killed near Tombstone. Forms a tentative partnership with sickly, drunken badass Doc (Victor Mature) to take out the Clanton clan run by Walter Brennan (a real asshole, far from his lovable drunk character in To Have and Have Not). Schoolteacher Clementine comes to town looking for old flame Doc but finds him a changed man shacking up with his new love Chihuahua (my favorite character: Linda Darnell, conductor’s wife in Unfaithfully Yours) and while she’s hanging around town, Earp falls for her. Leads inexorably to a gunfight at the OK Corral, Doc and all the Clantons getting shot down. Much, much better than I’d expected from the title. I’m getting to like this John Ford fellow. Katy liked it, too.

by ·Comments Off on Johnny Guitar (1954, Nicholas Ray)

Westerns Month continues. This is one of those contrary-auteurist favorites. It’s not even popular enough to be out on DVD in the states, and it’ll never make an AFI list, but, just for example, it’s on Jonathan Rosenbaum’s top 100 list (that’s hundred, not thousand). Not of westerns – of movies. So I had high expectations. And hell, I loved it, but I wouldn’t say I loved it more than Stagecoach or My Darling Clementine (or Red Garters), so maybe I wasn’t paying the right kind of attention, as usual.

L-R: Ben Cooper, Crawford, Carradine, Hayden:

Made the year before Rebel Without a Cause, and the acting style seems like a warm-up for that picture. Joan Crawford and Mercedes McCambridge play town rivals. These actresses were so mad that one had a movie made about how she abused her children, and the other voiced the devil in The Exorcist. They play everything so huge that when they finally meet for a shootout at the end, you can see sparks flying off the film. The women are the men in this picture. Town leader (Ward Bond: Rio Bravo and Wyatt’s older brother in My Darling Clementine) takes his cues from Mercedes, and the other two men are named Johnny Guitar and The Dancin’ Kid – not so tough.

The Kid offends McCambridge; Ward Bond looks on:

Johnny, a former gunfighter trying his luck as a musician, is Sterling Hayden (still a couple years before The Killing) and the Kid is Scott Brady (who starred in a not-so-well-loved Billy the Kid movie for William Castle this same year) with reasonable henchman Royal Dano and mean, irritable henchman Ernest Borgnine. Those fellows are kind of assholes but they’re not criminals – that is, not until a Mercedes-led mob tosses them out of town. Then they figure they might as well knock over the bank on the way out. Crawford is an entrepreneur like McCabe, opening a bar and gambling hall right where the train is gonna come through town. All she ever did wrong was to steal the Kid away from Mercedes. The mob shuts her down and almost hangs her after the bank heist. Her loyal employee (Stagecoach vet John Carradine) is killed and her place burned to the ground, so she hides out with the Kid’s gang until the mob tracks them town. Awesome final scene – the men all stand aside as the two women face off. Mercedes shoots the Kid in the head then gets blasted by Joan, who walks off with Johnny.

McCambridge stares down Crawford…

…while Hayden hides behind some wood:

Empire calls it “a truly demented Western, with vividly colourful settings and and an almost operatic intensity of emotional and physical violence … Best of all, the film acts as a vigorous indictment of the McCarthy witch-hunts; as a lynch mob rides after Crawford while McCambridge bullies witnesses into false confessions.” I suppose so – unlike the mobs in The Sun Shines Bright the previous year or Lang’s Fury, this one has a ringleader who eggs them on. In fact, as soon as Mercedes is shot, they’ve lost their voice – nobody moves or says a word as Johnny escorts Crawford past them all. There’s little doubt that writer Ben Maddow (blacklisted for being a lefty shortly after winning an oscar for The Asphalt Jungle) would’ve held a grudge with McCarthy.

My favorite shot: the (sharply dressed) mob looks past the body of The Kid:

The Guardian: “It is difficult to describe what makes Johnny Guitar so fascinating, except to say that Ray’s orchestration of Philip Yordan’s almost literary screenplay gives a small budget film, made for Republic Studios, a kind of heady but clipped dignity.”

by ·Comments Off on Force of Evil (1948, Abraham Polonsky)

Noir about a sleazy lawyer in the illegal gambling “numbers” racket who tries to get rich, tries to help out unlucky small-time older brother Leo, and fails miserably at both. At least he gets the girl, but at the end he’s turning himself in, disgusted that his buddies murdered his brother. The girl (stage actress Beatrice Pearson, only in one other film) is Doris, who is like a daughter to Leo and therefore as distrustful of Garfield as Leo is, but she comes around after Garfield keeps bailing her out of jail and incessantly harassing her. That’s how love worked in the 40’s.

Doesn’t look like the movie had much of a budget, but director Polonsky and D.P. George Barnes (who shot Rebecca and Spellbound for Hitchcock) made it look marvelous. Polonsky was an up and coming talent, oscar-nominated for his debut the year before, but blacklisted soon after this movie failed to make a huge impact. John Garfield was very good in this, even though I couldn’t have picked him out of a lineup of greasy dark-haired white guys an hour later. He was oscar-nominated the same year for Body and Soul, died a few years later of heart problems. Older brother Thomas Gomez (The Furies, Key Largo) lived long enough to appear in Beneath the Planet of the Apes.

by ·Comments Off on A couple of auteur lists

I’ve taken to posting lists of movies I’d like to watch on this blog, which is unnecessary since I already keep a master list of movies I’d like to see in a database. Keeping extra lists here just means I’ve made everything less efficient. But no matter. A month or two ago I declared The Auteurist Completion Project, with aims to watch the last few remaining titles by directors I care about whose complete works I’d almost seen. Here’s the status report for that particular goal.

P. Anderson: The Dirk Diggler Story
W. Anderson: Bottle Rocket (short)
Anger: Invocation of My Demon Brother, Lucifer Rising, Anger Sees Red, The Man We Want to Hang
Arnold: Deanimated
Bahrani: Man Push Cart, Plastic Bag
Baldwin: Spectres of the Spectrum
Bong: Memories of Murder, Barking Dogs Never Bite, Influenza
Cocteau: Eagle Has Two Heads, 8×8
Cronenberg: From the Drain, Italian Machine
Dante: Second Civil War, The Hole
Fuller: Day of Reckoning, Crimson Kimono, Verboten, The Command, The Tanks are Coming
Gilliam: Storytime, Tideland
Gondry: The Letter, Thorn in the Heart
Guest: For Your Consideration
Hartley: Fay Grim, shorts vol. 2
Haynes: Poison
Hillcoat: Ghosts of the Civil Dead, To Have and to Hold
Jarmusch: Permanent Vacation, Year of the Horse
Jodorowsky: Santa Sangre, The Rainbow Thief
Keaton: The Navigator, Battling Butler
Korine: Trash Humpers, Julien Donkey-Boy
Kubrick: Fear and Desire
Lang: Harakiri, The Wandering Image, Four Around a Woman
Leone: Duck You Sucker, My Name is Nobody
Linklater: Me and Orson Welles, It’s Impossible to Learn to Plow…
Lynch: On The Air
Marker: Loneliness of the Long Distance Singer, The Last Bolshevik, Level Five
Moore: Pets or Meat, Slacker Uprising
Murnau: Haunted Castle, Burning Soil, 4 Devils
Panahi: White Balloon, The Mirror
Park: Chicken Run, Creature Comforts
Quays: Piano Tuner of Earthquakes, Songs for Dead Children, Inventorium Sladow
Raimi: Within the Woods
Soderbergh: King of the Hill, The Girlfriend Experience, And Everything Is Going Fine
Svankmajer: Jabberwocky, Sileni, Surviving Life
Tarkovsky: Nostalghia, Mirror, Steamroller and the Violin
Tarr: Macbeth, Almanac of Fall, Damnation
Tati: Jour de Fete, School for Postmen, Trafic
Taymor: Juan Darien, The Tempest
Welles: Around the World, Chimes at Midnight, Fountain of Youth, The OW Show
Wong: In the Mood DVD extras

Deleted from list because I was missing more titles than expected: Miike, De Palma, Dreyer, Tashlin, Van Sant, Varda, Demy, Bunuel, Cassavetes, Kieslowski, Kitano, Powell/Pressburger, Sally Potter, Dennis Potter, Renoir, Resnais, Rivette, Scorsese, Watkins.

If I was planning to make my annual end-of-year list of movies which I simply must watch next year (which I’m not, since I feel like having a freeform 2011), those titles would probably be on there. Though it would be more fun to tackle famed filmmakers whose works I’m largely (or in most cases, completely) unfamiliar with, so here’s a handy list of those, too.

Joseph Losey
Anthony Mann
Rainer Fassbinder
Josef von Sternberg
Cecil B. DeMille
Roberto Rossellini
Otto Preminger
William Wyler
Alexander Dovzhenko
King Vidor
Luc Moullet
Pier Paolo Pasolini
Mikio Naruse
Jean Eustache
Marcel Carné
Raoul Walsh
Derek Jarman
Elia Suleiman
Julien Duvivier
Terayama Shuji
Luchino Visconti
Aleksandr Sokurov
Fatty Arbuckle
Ritwik Ghatak
Masahiro Shinoda
Yevgeni Bauer
James Benning
Stanley Kwan
Carlos Saura
Maurice Pialat
Jacques Becker
Marguerite Duras
Theo Angelopoulos
Marcel L’Herbier
João César Monteiro
Herschell Gordon Lewis
Humphrey Jennings
Otar Iosseliani
Chantal Akerman
Lee Chang-dong
Paul Leni
Hiroshi Shimizu
Albert Brooks
Rene Clement
Whit Stillman
Jean Epstein
Bertrand Tavernier
Tran Anh Hung
Barbet Schroeder
Zhuangzhuang Tian
Andrea Arnold
Marco Bellocchio
Pere Portabella
Vera Chytilová
Anthony Asquith
Basil Dearden
Mark Rappaport
Hong Sang-soo
Takashi Ito
Jan Sverák
Youssef Chahine
Karel Zeman
Bruno Dumont
Francesco Rosi
Karel Reisz
Don Siegel
Roger Vadim
Guy Debord
Mara Mattuschka
Henry Hills
Andy Warhol