by ·Comments Off on Seven Movies, Some Television and Other Things So Far in 2011

This post has been released under the Movie Journal Amnesty Act of March 2011, which states that blog entries may be short and crappy, since I am too busy to write up proper ones.

Machete (2010, Robert Rodriguez)

I loved the Machete fake trailer in Grindhouse, but felt R.R. was stretching the joke too far by making this. It didn’t get stellar reviews, so I skipped it in theaters. Oops. So wonderful, probably better than Planet Terror. Baddies Robert De Niro, Steven Seagal and Jeff Fahey all get brutally killed, along with Cheech Marin and about two hundred others. I don’t know how Rodriguez stays on the cool/fun side of the campy comic-action tightrope, instead of stumbling like Sukiyaki Western Django or falling clear off like Tokyo Gore Police. Dude is good.

Hatchet 2 (2010, Adam Green)

Ugh, a boring waste of time. Good for you if you make a self-aware, post-Scream horror movie full of fun references, movie veterans and tons of humor and gore. But boo on you for throwing away all accumulated goodwill on an obvious rehash sequel. Boooooo.

Frozen (2010, Adam Green)

Watched to give Green another chance after Hatchet II. Full of “why don’t they try…” and “why wouldn’t they just…” moments, and I thought the cinematography was boring, but the story and acting are undeniable… quite a good little horror flick.

In the Mouth of Madness (1994, John Carpenter)

When bad horror gets me down, I like to watch this again. It’s clunky at times and likes to montage itself (each cool shot is shown three times or more) but Sam Neill is great, and it’s one of few horrors I’ve seen that takes its Lovecraftian apocalyptic premise all the way to a satisfying conclusion.

Barres (1984, Luc Moullet)

A whole movie about dodging payment in the Paris subway – only 15 minutes long with no spoken dialogue. Cute and instructive. Told myself I’d finally check out Moullet but this is all I’ve gotten to so far.

Barres:

Beauty and the Beast (1991, Gary Trousdale & Kirk Wise)

Watched with Katy. What’s this new cleaning song doing in here? Must all Disney movies have a cleaning/work song?

The Clash: Westway to the World (2000, Don Letts)

A member of Big Audio Dynamite makes an interview film with some concert footage about The Clash. Very conventional, would’ve rather read The Clash’s wikipedia page and watched a full concert DVD.

Marty (1953, Delbert Mann)

The TV version from that rad Criterion DVD. I enjoyed Mann’s smooth Jimmy Stewart voice on the DVD commentary. He died two years before the DVD came out. A big shot in television through the early 50’s, he started working in cinema beginning with the film version of Marty, reaching the heights of a Cary Grant/Doris Day rom-com in ’62, then by the early 80’s he came back full-time to TV. Written by Paddy Chayefsky, acclaimed for this and Network, and also surprisingly the author of Altered States.

I’m still not clear on the kinescope process – so it was a camera aimed at a TV screen during broadcast? And this was done by the network, not by some enthusiast at home with a proto-VCR setup? And it was set up for time-shifting to the west coast? How did they get the film developed and send it to LA in an hour? Is the kinescope the reason why lateral camera moves make the movie suddenly looks like I’m watching it inside a cylinder?

“Girls: Dance with the man who asks you. Remember men have feelings too.” Marty is bored, has no luck with ladies, finally meets one who is his own speed. Meanwhile his mother is worrying over him and his aunt is moving in and his friends are telling him to forget the girl. Will love conquer all? Yes. A very small-scale but wonderful movie.

Rod Steiger would go on to star in Run of the Arrow and In The Heat of the Night, and more importantly, as the warmongering general of Mars Attacks!. He was recast as Borgnine in the feature film, but his mother and aunt made the cinema transition – the mother (Esther Minciotti) also played mother to Cornel Wilde and Henry Fonda in Shockproof and The Wrong Man, respectively. I had to subtitle her thick accent at times on the DVD here.

Parks & Recreation season 1

Now maybe I’ll be able to remember who Amy Poehler is, even though I’ve seen her in four movies. Also good to see Aziz again after Human Giant, but this was surprisingly not too funny/brilliant a season. Things have already picked up at the start of s2, so hopes are high.

Lars/Real Girl’s well-meaning brother Paul Schneider is low-key ladies’ man Mark. Nick Offerman of The Men Who Stare at Goats is mustachioed manager Ron. Bored receptionist April is Aubrey Plaza, a minor hostile character in Scott Pilgrim vs. the World. Poehler’s new friend Ann is Rashida Jones, the lawyer (?) who talks to Mark Zuckerberg after-hours in The Social Network, and her boyfriend Andy is Chris Pratt of nothing I’ve seen yet.

Saxondale season 1

Steve Coogan plays less of a buffoon than usual, actually kind of a bright and capable guy. He’s not super classy though, an ex-roadie for various rock groups turned independent exterminator with anger management issues, with a new young assistant whom he and his wife Mags (Ruth Jones of Little Britain and Nighty Night) somewhat adopt. Not a masterpiece of a show, but a happy diversion with some sharp comic bits.

Stella (2005)

The only season of Michael & Michael & David Wain’s show. Once I learned to tolerate how awful and stupid it is, I started to appreciate its stupid, awful, brilliant sense of humor. Or maybe I’m just stupid. Still to see: Michael & Michael Have Issues and rival series Wainy Days. Plus I never watched Reno 911, and maybe Viva Variety will come out on DVD some day.

Flight of the Conchords season 2
The Mighty Boosh season 2

These two are currently competing for best musical comedy series of the decade. Metalocalypse doesn’t stand a chance. Conchords may have the edge, because the music in Boosh season 2 was less prominent and awesome than in its first season.

by ·Comments Off on The Last Bolshevik (1992, Chris Marker)

Marker’s most traditional, talking-head-style documentary since Le Joli Mai still has its fanciful Marker-moments, such as an intermission called “Cat listening to music,” which I believe is the same as the segment in his Petit Bestiare, and some graphics created in HyperStudio on his Apple IIGS

Guillaume-en-Egypte, dreaming images from Japanese television:

Computer camel:

Even though it’s mostly interviews on the topic of Alexander Medvedkin, and not Marker’s missive narration, the film is still structured with chapter headings “first letter, second letter,” etc. Aelita (the Queen of Mars) is shown watching scenes from Happiness. Marker visits Medvedkin’s grave, notes that he was born in 1900 and so his life can be used as a measuring stick for the century. But the metaphor is underused since his recorded life largely consists of the flurry of activity around the cine-train and Happiness, then a long silence until his rediscovery in France in the 70’s.

A.M.’s daughter:

Marker met Medvedkin while in Russia with Costa-Gavras and Yves Montand for The Confession, then Marker made The Train Rolls On, which he excerpts here. “He wouldn’t give people films; he would give them cinema.” The cine-train was fascinating, even if it didn’t ultimately lead to more efficient production and a communist worker’s utopian cinema of the people.

A camera that is aimed like a rifle – I WANT one:

“When Vertov was using studio lights on the extras he mixed with real mourners at Lenin’s funerals it was said he betrayed kino-pravda, film truth. But once you see the same kind of lights in the courtroom, you realize that life itself has become a fiction film, a film noir, filled with suspense, where some actors applaud their own condemnation in advance.”

Insight on Vertov and Eisenstein, giving context to Medvedkin’s work. He says Battleship Potemkin was not successful in its own country. “While European film buffs reveled in the sight of the Potemkin sailors, Russian audiences were dreaming of Mary Pickford and Douglas Fairbanks.” An interviewee tells us that Stalin used to watch every movie made in the country – impressive if true. Best of all is when Marker watches long-lost films from the 1920’s cine-train and finds the birth of moments in the 1932 Happiness – images and editing techniques discovered or invented on the train reused in the feature.

I wonder if interviewee Viktor Diomen was coached when he said A.M. is “outside time. On the one hand, his own time has left very distinct marks on him. He’s like a big tree with its growth rings and its bark marked by the carvings of passers-by.” One thinks of the Vertigo reference in La Jetee, the woman pointing off the edge of the tree, “outside time.”

“Only later did I understand his tragedy – the tragedy of a pure communist in a world of would-be communists.”

The movie gets increasingly interesting and freeform as Marker sets his rifle sights on Russia’s recent past – a very good final chapter, leading to the greatest final paragraph/shot of any Marker film.

by ·Comments Off on Bullet Ballet (1998, Shinya Tsukamoto)

Businessman Goda (the director himself, also listed as writer, editor and cinematographer) becomes gun-obsessed after his wife shoots herself. They are illegal to buy, so he trolls the underground, then constructs his own gun out of custom-machined parts, and finally a girl offers a gun if he’ll marry her for immigration reasons. It’s a no-brainer for him, with his life in an obsessive downward spiral by then, and she’s never seen again in the movie.

During his gun quest he ran into Chisato (Kirina Mano of Greenaway’s 8 1/2 Women) and her boyfriend Goto, a couple of punks in a street gang. I suppose we only get the fragments of the plot that Goda understands himself, so when a hitman starts killing off the gang and our guy offers his protection, we never find out who or why this is happening, and it leads to an odd conclusion, the hitman beating the hell out of Goto but leaving our three heroes alive.

It’s Tsukamoto’s trademark gritty handheld harsh black-and-white look, but his movies never seem as indifferently shot as most others which use handheld cameras and fast cutting to convey energy. He’s actually good, not just covering up a lack of visual ideas with speed. He’s great with physical intensity, but maybe less good with plotting. This one wants to be feature length (Haze was better-paced at 50 minutes) but doesn’t offer any new ideas past the halfway point.

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.

by ·Comments Off on Cold Lazarus (1996, Renny Rye)

An entry for…

Initiated by Shadowplay

A true “late film,” Cold Lazarus was the final script completed by Dennis Potter just weeks before his (and his wife’s!) death from cancer. He wrote it after his diagnosis as a companion piece to Karaoke, which he didn’t feel should stand alone as his final work. I watched Karaoke a year before starting this memory-enhancing blog, and so don’t remember it perfectly, but enough to get the connections between the two stories.

C. Chapman on the general idea:
“A dying writer, haunted by his past creations and aware of how his legacy will be picked over by the media barons he so hates, writes about a dying writer, haunted by his past creations, and then how his legacy is picked over by the media barons.”

Potter on Potter:
“You don’t mind the frozen head in itself so much as you care about the stories it’s telling.”

Authority figures wear silly helmets in The Future:

Set in the year 2300, a lab run by Prof. Emma Polack (Frances de la Tour of Rising Damp, suddenly in a bunch of mega-budget Hollywood movies) has got the frozen head of Albert Finney’s character from Karaoke hooked up to machines and chemicals, with which the lab rats can visualize his memories. Unfortunately for them, Finney was a creative type whose thoughts don’t always reflect events as they actually occurred – a fun premise which I wish had been given more time. Had Potter lived long enough to workshop the script with actors/readers, assuming he ever did that sort of thing, he may have realized how much time was spent instead on typically tedious sci-fi blather, characters rattling off endless serial numbers (because in The Future, numbers replace names for everything) and silly futuristic words (the scientists didn’t go to college, but “cyber-college”). He also may have noticed how clueless these supposedly brilliant scientists seem when they ponder aloud the nature of subjective memory. I don’t mean to be hard on the guy, though – it’s an interesting story, and he was under the strictest writing deadline: to finish the story before his imminent death.

I’ll bet Finney’s frozen head would fetch good money on Ebay:

Frances de la Tour and Ganiat Kasumu, whose hilarious hairstyle you can’t make out properly from this screenshot:

So, Emma runs the lab along with shady Fyodor (Ciaran Hinds, a henchman in The Cook, The Thief, etc, and FBI in Miami Vice), straight-laced Tony (Grant Masters, whose previous claim to fame had been “man in laundry room” in a Mr. Bean episode), Luanda (Ganiat Kasumu of Nigeria), Kaya (Claudia “no relation” Malkovich) and Blinda (Carmen Ejogo, Maya Rudolph’s sister in Away We Go). They’re all under severe budget restrictions from artifically-young Cruella DeVillianous lab owner Martina (Diane Ladd: Laura Dern’s lipstick-smeared obsessive mother in Wild at Heart). But Martina’s buddy/rival Dave (Henry Goodman of Taking Woodstock), a benevolent television mogul, finds out about the lab’s research with the aid of Martina’s VR helmet (remember VR?) and his own network of robotic-bird spies, and secretly offers to buy them out, offering them an unlimited budget in exchange for the rights to broadcast Finney’s memories.

Evil Diane Ladd consorts with evil Henry Goodman:

Intrigue: Fyodor is secretly an agent of the underground RON (“Reality or Nothing”) organization, and when Kaya exhibits enough human compassion that he thinks she might be turned to their cause, he introduces her to a RON-affiliated coworker, to disastrous results. Blinda is found to be a spy for the owner, so Fyodor takes her out in the movie’s most Army of Shadows-worthy scene. And new boss Dave’s supposed benevolence turns quite unsurprisingly evil. The movie’s most interesting unanswered question is what will happen when Finney’s conscience is broadcast into every home. Dave is counting on an unprecedented ratings bonanza, people passively consuming a man’s psyche as entertainment, but Fyodor hopes that glimpses into a less-authoritarian past will make people realize their own lack of freedom and rise up, inspired by the RON slogan. Potter preferred not to allow us an answer, as Fyodor shoots first Dave then the head (which somehow provokes a lab-consuming, Fyodor-vaporizing explosion).

Ciaran Hinds, about to shoot either Goodman or Finney:

Of course since it’s Potter, there’s also rape and depression, torture and nihilism, and Finney sings Pennies From Heaven (probably a scene from Karaoke). Funny how his “memories” are edited rather to the rhythm of a 1990’s British TV miniseries, heh. The perverted sex-scientist whom Dave places on the team in the second half and Martina’s series of scantily-clad poolboys were a fun touch.

In the doc Dennis Potter: A Life in Television, someone says at least Potter was never boring – which is true of this. It’s not his very best writing (I’d even prefer the hardly-ever-discussed Lipstick On Your Collar) but it’s never boring. It’s a classy production too, with CGI effects that seem very good for mid-90’s television. The John Williamsy music is a bit loud, and the actors are more than a bit loud, everyone seeming drunkenly overenthusiastic.

Finney appears full-grown in his own childhood memories, an approach used before by Potter in Blue Remembered Hills:

Director Renny Rye (who also made Karaoke, Midnight Movie, Lipstick On Your Collar) was hand-picked by Potter for having no personality. Rye:

One of the reasons about Dennis wanting me to do it, was that he had this anxiety about directors wanting to impose their own stamp to such a degree that the writer’s original voice is masked or overcoloured. That distancing is one of the things he was dramatising. … Dennis loved the conceit of this group of scientists exploiting a writer’s brain after his death. ‘That’s what you’re going to be doing in a year’s time,’ he said: ‘exploiting my work.’

by ·Comments Off on Year of the Horse (1997, Jim Jarmusch)

The Auteur Completion Project rolls on. I never knew how to see Permanent Vacation until Criterion put it out a few years ago, and now that I’ve finally watched it, I might as well also finally see this Neil Young/Crazy Horse doc that I bought a decade ago. I have a weird attraction to buying concert DVDs and a weird aversion to watching them. Anyway, now I’ve seen every Jim Jarmusch film that I know of, and I feel good about that. Now to move to New York and see them all on 35mm instead of DVD.

Jim and Neil on the bus:

As far as behind-the-scenes musician docs go, this one is top-notch, not for any particular visual superiority (in fact, it was purposely shot on cheap film and video cameras) but because it lets the songs play out in full – even the long jammy ones – without impatiently cutting to some famous person telling us how great Crazy Horse is. If there’s anyone who can be counted on for patience, it’s Jarmusch.

by ·Comments Off on The Hudsucker Proxy (1994, Coen Bros.)

Reportedly this movie was written by the Coens and Sam Raimi in the 80’s at the same time they wrote Crimewave together. Both were huge flops. But Crimewave, directed by Raimi between the first two Evil Dead movies, is downright awful, whereas I think every scene in Hudsucker is just perfect. The movie was expensive, but looks expensive – a well done period piece with great attention to detail. And Katy liked it!

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FEB 2021 EDIT: Watched again… good movie.

by ·Comments Off on Level Five & Immemory (Chris Marker)

Level Five (1997)

La Jetee is often called Chris Marker’s only fictional film, but others have fictional frameworks or false narrators. This one is the prime example, casting actress Catherine Belkhodja (weirdly – thanks, IMDB – her daughter played the Diva in Fifth Element this same year) to play a fictional narrator before the cameras, not just in voiceover. She writes a book on a computer which is shared with her man, who is writing a video game based on the battle of Okinawa. They both research on an internet-like computer system called (what else?) OWL. Sometimes Chris speaks in his own voice, which seems unusual – is he supposed to be the never-seen game programmer?

Some philosophy about the nature of communication and computers – she feeds her antique Mac nouns as commands to see its response (“I don’t know how to sardine”) – and about the permanence of the past. No matter what variables you change in the Okinawa simulator, the results are the same. She says computers have become her memory, which obviously strikes a chord with me, sitting here typing about movies I’ve seen so I don’t forget them. Besides Catherine and her OWL, most of the movie is devoted to exploring the story of Okinawa, a Japanese island where a large portion of the rural locals committed suicide for fear they’d fall into the hands of barbarian Americans during a brutal WWII battle.

Okinawa memorial footage shot by Nagisa Oshima:

My favorite bit, about a man filmed falling to the ground engulfed in flames:

I know where Gustave is from. You told me his name was Gustave. I’d seen him a hundred times. Nobody had ever filmed a man burning alive so close, a lulu for war documentaries. The unknown soldier, in full kit, holding his own flame. He was carted around battlefields, like a war-artist on tour with a unique act. Gustave in the Philippines, Gustave in Okinawa. I even saw him in a Vietnam movie, still burning 20 years later. I viewed so much newsreel I knew Gustave at birth. Filmed in Borneo, by Australians. The interesting thing is that, at the end of the original shot, you can tell he doesn’t die. He gets up again. You feel he’ll get over it like the napalm girl in Saigon. That ending has always been cut in all documentaries. A born symbol doesn’t get out of it so easily! He testifies against war, you cannot weaken his testimony for the sake of a few frames. Truth? What is truth? The truth is, most didn’t get up.

Catherine dancing with an emu:

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Immemory (1998)

I watched a nice transfer of Level Five on my laptop, and there are few movies that would seem more appropriate to view as a computer file rather than in cinemas or on television. But Immemory isn’t a movie at all – a CD-Rom with photos and collages, writings, articles and film clips, meant to be navigated instinctually, like a memory. There’s an index in case you want to cheat and view it exhaustively. I tried to read it like a book, going to each section in turn and reading forward through them all, taking side trips when I felt like it, but then returning where I left off. Really wonderful and fun, with more straight autobiography than you usually get from a Marker film – I enjoyed it more than Level Five.

Some choice pages:

by ·1 Comment

It’s Auteur Completism Month! I try to watch all the movies by my longtime favorite filmmakers – Fuller, Lang, Jarmusch, Cocteau, Maddin and so on – but sometimes a couple titles fall through the cracks. Either I can’t find them or they’re just not a priority. Auteur Completism Month is meant to take care of that.

Sam Fuller is the one whose movies I’ve tried the hardest to see, buying a bunch from bootleg tape traders in the dark days before they all came out on DVD. This was the last lingering title on my original list, and it snuck out on disc a few months ago. IMDB has since added a bunch more titles Sam supposedly directed – six episodes of The Iron Horse and something called The Dick Powell Theatre – but I’d rather check out the movies he wrote, like The Klansman, The Deadly Trackers, The Command, The Tanks Are Coming and Confirm or Deny.

A hammy Tony Perkins introduces the series, an inadequate replacement for his onetime director Hitchcock. As far as I’m concerned Patricia Highsmith, on whose stories this series are based, is inadequate as well, but I shouldn’t judge based on a single short story. In fact, Hitch himself adapted her story for Strangers on a Train.

This story is ridiculous, but the actors are game and Fuller is freaking out in full, free Dead Pigeon on Beethoven Street mode. He must figure they wouldn’t have called him if they’d wanted a cheap but professional straightforward television production – in this post Shock Corridor (in fact, post White Dog) era, they wanted Rebel Fuller. So he threw all he had at this story of a doomed modern chicken farm, including an awesomely-edited black and white musical dream sequence, nutty angles, nuttier acting, zooms and camera shots from a chicken’s point of view – literally inside a chicken eyeball.

Gross drifter-looking John (Cris Campion of Altman’s Aria episode and Polanski’s Pirates) shows up at his aunt and uncle’s farm, discovers they’re into automated chicken farming these days. Caught him sharing inappropriately suggestive looks with aunt Helene (spanish Assumpta Serna of Wild Orchid, Piano Tuner of Earthquakes) when not being ranted at about the wonders of chicken farming by crazed, desperate, possibly loaded uncle Philippe Léotard (older brother to France’s former minister of defense, had recently been in an Agnes Varda movie, less recently in Truffaut’s Two English Girls).

Aunt Helene looks crazed:

Uncle Ernie demonstrates his enthusiasm for chicken farming:

The couple’s daughter Samantha Fuller’s little cat dies as soon as John arrives – a bad sign. There’s some time-killing business. Neighbors Manuel Pereiro (Pod People) and Christa Lang come to visit. Then Samantha herself dies by suffocating in the grain (possible references: A Corner in Wheat, Vampyr) and her parents lose it. Helene frees the chickens who kill uncle Ernie then gather outside under the watchful eye of the single rooster. And Helene starts making out with her nephew (who often looks like a scarecrow). Shot by Alain Levent (Cleo from 5 to 7, The Nun). Some corny dialogue and ominous keyboard music and abuse of the song “Old Macdonald,” but a cute movie. Anyway, a good November 1 transition movie from SHOCKtober to Auteur month.

Christa Lang:

Some chickens were almost definitely harmed in the making of this picture.