Broadcast News (1987)

Broadcast News

Broadcast News – 1987

Director – James L. Brooks

Starring – Holly Hunter, William Hurt, and Albert Brooks

Every few years, maybe once or twice a decade, there is a movie that is a watershed moment for the audience.  Specifically it fundamentally changes how the audience perceives their relationship with how they see the world.  A film comes along, and playing with delivery, intention, or the pre-conceived notions of the audience, turns the world on its head, and shows us something familiar in a whole new way.

Films like the Lumiere brothers short “Arrival of a Train at La Ciotat”, “The Man with the Movie Camera”, and “12 Angry Men”, sideswiped their audiences by manipulating what they were expecting and adding what they never saw coming, in the process waking them up to a whole new way of looking at things.  Shit, even the Sixth Sense caused a whole generation of movie goers to not only watch out for twists, but to almost expect them.  The visceral reaction inherent in the unknown is an addictive, and revelatory experience. It is just this sort of reaction that all films try to go for, but few ever really manage to pull off, not to mention on the scale that is required of a cultural event.

So it was with a certain amount of excitement that I approached seeing how the media shapes and packages the information we consume, making it more palatable, while all the while leaving us craving more.  Broadcast News was one of those films that tried for, but for my money, didn’t quite reach that sort of cultural status.  While I found the actors fun to watch, the script funny, and the story engaging, I felt like it was never able to accomplish its goal of revealing the drive and desires of the media structure that existed in the late 80s and early 90s.  Where the 24 hour news channels of today seem almost theatrically and blatantly disingenuous about their goals and motivations, the news culture that this film seeks to expose was one hiding behind the impression of integrity and virtue, so I felt like I kind of already knew the ending to the story.

The focus of the film is focused squarely on truth in journalism, in particular with the relationship between popularity, ratings, and honesty in the reporting of the news.  Holly Hunter plays Jane, a producer and champion of ethics at a big television news station, who ends up butting heads with Tom, the dumb yet likable reporter who knows that he hasn’t earned what he’s given, feels bad about it, yet succeeds and advances despite himself.  William Hurt is the perfect actor to play Tom, because, truth be told, I liked him simply based on the fact of who was playing him.  To further complicate matters, Aaron, Jane’s workplace confidant, and secret admirer, immediately distrusts Tom based on the budding attraction between him and Jane.

Basically, in the eyes of Jane and Aaron, Tom represents all that is wrong with how the news is presented and delivered.  Attractive faces with little to no knowledge of or interest in the details of the actual facts, delivering the “stories” that are really more geared to engage and attract viewers than to disseminate information.  Seeing this as a personal affront to her code of ethics, Jane, tries first to take a stand against him, then to educate him, and finally, after relenting to his obvious charms, starts to compromise her beliefs and principles.  The false, yet believable emotion that Tom brings to his reporting, begins to win her over proving just how effective he is as a voice-box for the network.

Ironically, I don’t know that Tom’s use of false tears during a story about date rape was really any more or less manipulative than Jane’s juxtaposition of a picturesque Norman Rockwell painting with the less than dignified life of a newly returned veteran.  At best they are equally manipulative, and at worst Jane actually takes it a step further by hiding it a little better than Tom was able to.  And therein lies one of my problems with this film.  The message wasn’t ambiguous enough that it wasn’t obvious what they were pointing at, yet it wasn’t black and white enough to end the film convinced about one side of the argument or the other.  The film had a certain selective subtlety that seemed a little too inconsistent for my liking.  Ultimately I would have liked the film to take a bit more of a stand, whether I agreed with it or not.

Few people in Hollywood are so simultaneously revered and nearly as unknown as is James L. Brooks.  Famed for being one of the original writers and a producer of one of my favorite shows, The Simpsons, that is really where my knowledge of him ends.  To look at his list of movies that he’s directed is to be rather disappointed.  The Adam Sandler film Spanglish was one that I thought was supposed to be pretty awful, but  As Good as it Gets, with all of its Oscar wins, was supposed to be pretty great.  Despite all the acclaim,  I never had a real urge to see it, so for all I know it’s equally as good as Spanglish.  And of course, Steel Magnolias.  I’ve heard of it, but that’s really about it.  Now that being said, everyone else I’ve talked to about Broadcast News seemed to really love it, and the fact that I was only luke-warm on it leads me to believe that I must be missing something, or that perhaps I need to watch it again.

Like I said, William Hurt is fun to watch, Albert Brooks is funny, and Holly Hunter plays a character that is just like other characters of hers that I like a lot.  Unfortunately, those positives still don’t make the “just okay” movie that it was, the “exceptional” movie that I was hoping it would be.  Rather disappointing.

I’ve Seen It, and Now So Has She…

So in the ongoing process of reviewing the movies I had already seen when starting this, here are 25 more films from different years, genres, and nationalities.  Thanks to her going nuts on our movie collection in an attempt to catch up, all of these films were simultaneously reviewed by my lovely wife, Ashley, as well as by me.  Enjoy!

The Man Who Knew Too Much (1956)

Though not as phenomenal as some of his work, The Man Who Knew Too Much, is one of the really good Hitchcock films.  Jimmy Stewart is always pretty likable, but it’s Doris Day who really steals the show for me.  The one thing that the original has over this remake is the ever-wonderful Peter Lorre.  I could watch that guy eat breakfast!

“Don’t F with Doris Day or she will sing you a song!” – Ashley

The Great Escape (1963)

Partly remembered for it’s fun story, and partly because of Steve McQueen, The Great Escape is also worthy of remembrance for being one of the last (as far as I could find anyway) really great, ensemble films.  The list of famous actors that make an appearance here is a pretty astounding one.  Everyone from the CEO of Jurassic Park, to Flint of “In Like Flint”, to the vigilante from “Death Wish”, and plenty more, make an appearance in this film.  Oh, and the story is pretty good too.

“This movie might be set in a prisoner of war camp, but I would liken it to the con or heist movie genres, so it was actually quite enjoyable.” – Ashley

La Battaglia Di Algeri (AKA: The Battle of Algiers) (1965)

The gritty and raw style of this film owes much to the cinema vérité camera work, and black and white film stock, which served to mimic news reel, or documentary style footage.  The cast of actors, or non-actors as they were, was chosen for their look, and the emotional heft they brought the subject matter, with the only “real” actor playing the leader of the French military force tasked with quieting the then French colony, Colonel Mathieu.  As a testament to its message, the film was banned in France for a number of years, before being re-edited and released later on.  As powerful and prescient today as it was when it was filmed, it speaks to our current situation with the Iraq and Afghanistan wars, and the nature, and victims of terrorism.

“It’s a war movie!” (said with fake excitement) – Ashley

C’era Una Volta Il West  AKA Once Upon a Time in the West (1968)

Gorgeous!  This film is so lush, and beautiful that when I first saw it, it took my breath away.  Though I do love the Man With No Name trilogy, this film, in my humble opinion, is  absolutely Sergio Leone’s masterpiece!  Henry Fonda, Jason Robards, and god help us all Claudia Cardinale.  If you haven’t seen this film, you are doing yourself a grand disservice!

“One of the best movies this list has introduced me to!” – Ashley

Midnight Cowboy (1969)

I saw this film around two decades ago, and I liked it a lot.  I was amazed at how much I liked it really, but it wasn’t until I watched it recently with my wife for her first time, that I was blown away.  Dustin Hoffman is so, so very good, and unfortunately for him, John Voight was so incredible that he still hasn’t yet managed to attain such heights again.  Fred Neil’s “Everybody Talkin'” performed by Harry Nilsson, is such a perfect song to capture the wonder, and spontaneity of New York city, as well as the despair and fear that come when good fortune you’re riding flips upside down and smothers you instead.  One of the most beautiful films I’ve ever seen.

“Two hustlers find love.” – Ashley

Serpico (1973)

Though I’ve seen Serpico, I never fell in love with Serpico.  It’s a good film, that I, more than likely, should give another chance.  Known as one of the big tent poles of 1970s cinema, this film went a long way in defining the social, and political unrest of the urbanites of the time.

“Al Pacino grows a beard and takes down some corrupt cops.” – Ashley

Jaws (1975)

The godfather of the summer blockbuster is also an incredibly effective horror and suspense film.  This film comes from the young and hungry Steven Spielberg that helped make a lot of the movies that I grew up on, not the tired schmaltzy Spielberg that ruins every movie he makes now in the last 30 minutes (Don’t believe me?  Take, A.I., War of the Worlds, Minority Report, Saving Private Ryan, and Jurassic Park 2: The Lost World, and the all terrible Catch Me If You Can, The Terminal, The Adventures of Tin-Tin, and Indiana Jones and The Kingdom of the Crystal Skull.).  So basically, Jaws was good.

“The push-zoom in it is great, other then that, meh.” – Ashley

Network (1976)

Though Network has some pretty interesting things to say about the nature of television and the nature of fame and martyrdom, and is definitely considered to be another one of those “important” movies from the seventies, I didn’t like the film really at all.  I found all the characters to be pretty repellent  people, and not in the least compelling on any other level.

“I hated every character in this movie.” – Ashley

Airplane! (1980)

The absolute funniest movie that I had ever seen when I was ten years old, it turns out is best marketed towards the young and those who are young in the head.  It didn’t manage to hold onto its title when I recently re-watched it, but it was still really fun to watch.  Leslie Nielson easily steals the show with his trademark deadpan delivery, and square-jawed good looks.  I will always love it for the joy it brought me in my youth.

“Better then the parody movies done today but still not my favorite kind of comedy.” – Ashley

The King of Comedy (1983)

Robert De Niro’s selfish, celebrity-obsessed, Travis Bickle is in love with the idea of fame, so much so that fixates on it.  It is all he sees and all he desires.  At times, tense, at others comic, the film goes a fair way towards predicting the phenomenon of instant fame that shows like American Idol, and YouTube have come to inspire. “The King of Comedy”, just may be one of Scorsese’s lighter works, but one of Martin’s lesser works is often times better than someone else’s best.

“Robert De Niro being creepy.” – Ashley

The Terminator (1984)

I was raised on this film.  I have probably seen it upwards of 100 times.  It is incredible.

“Arnold Schwarzenegger is bad.” – Ashley

Beverly Hills Cop (1984)

This little flick is a fossil of another time, a time when the name Eddie Murphy meant you were going to see something that was actually funny.  Not solely for children, no fat suits or unnecessary makeup, but an actual, honest to God funny movie.  Murphy made a fair amount of them in his heyday, my only guess is that he just ran out of funny stuff to say, and now is only capable of making crap.  Too bad.

“Oh, I didn’t know Eddie Murphy use to be funny!” – Ashley

‘A’ Gai Waak Juk Jaap (AKA: Project A, Part II) (1987)

I went through a big Hong Kong cinema phase in the mid to late 90s.  Films like A Better Tomorrow, My Lucky Stars, Full Contact, and Hardboiled filled my movie collection.  Some of my favorites were the films of Jackie Chan, including the Project A films.  Packed with action, impossible stunts, and lots of slapstick humor, these films are intensely rewarding, and loads of fun.  Though I like Project A, Part II a lot, I wouldn’t put it as my favorite of Chan’s films, that honor would go to the absolutely insane Drunken Master II.  The last half an hour of that film was just about the craziest thing I’d ever seen in my life.

“Jackie is a god.” – Ashley

A Fish Called Wanda (1988)

Another film that I suppose I should devote another viewing to.  Most people seem to love, A Fish Called Wanda, however I thought it wasn’t all that good.  Since it was written by John Cleese, I should by all rights love it, so I can only assume that I saw it at too young an age.

“A raunchy comedy from the 80’s that is actually still funny for a first time view.”      – Ashley

The Naked Gun (1988)

Another of my favorite films from when I was 10 years old.  Leslie Nielsen rode the slapstick gravy train for many years, culminating in The Naked Gun.  Though the films sequels turn out to be rather hokey and one-note, the original film still stands out as one of the best examples of this type of comedy.

“Not bad but just not my kind of comedy.” – Ashley

Die Hard (1988)

As an only child, I spent a lot of time watching movies.  Every Friday night I would have my Mom drive me to the local video emporium, where I would pick up the newest action movies, along with the grossest or most obscure comedies and horror films.  I remember renting Die Hard when if first came out of Video.  I put the VHS tape into the VCR, sat back and spent the next two hours and twelve minutes getting my mind blown!  Easily one of the best action movies ever, and the best Christmas movie by a long shot.  Absolutely deserves to be on this list.

“My husband looks like Bruce Willis, so I’m allowed say how much I like how little his shirt is on in this movie, right?” – Ashley

Total Recall (1990)

Far and away the best film that either Arnold Schwarzenegger or Paul Verhoeven ever had anything to do with, and both men made some goddamned awesome films!  Groundbreaking visual effects, a truly compelling science fiction story, and action for days.  I was lucky enough to see this film in the theater, where at the tender age of eleven, I fell in love.

“Amazing special effects makeup. I wish they still did makeup this way.” – Ashley

Terminator 2: Judgment Day  (1991)

Not as impacting to me as the original, but this was yet another fantastic film.  James Cameron at the peak of his career thus far (yes I am including the disappointing Avatar).

“Arnold Schwarzenegger is good.” – Ashley

JFK (1991)

As a devout fan of film, I have a constantly shifting set of films that revolve in and out as my favorites of all time.  Reed’s The Third Man,  Kurosawa’s High & Low, Melville’s Le Cercle Rouge, and of course Oliver Stone’s JFK.  This labyrinth of a film traces the known facts right along side the potential possibilities, watching the two dance with one another, seeing what happens.  Some of my favorite cinematography ever committed to celluloid juxtaposes the black and white of the accepted reality of the Warren Commission with as many points of view as there were watching that day on the grassy knoll.  Black and white, high and low, right and wrong, fact and fiction.  All blend together in this film, tied by the exceptional cast, character actors and famous faces alike.  The best you’ve ever seen Joe Pesci, Tommy Lee Jones, Kevin Bacon, and Michael Rooker in any film.  This is one of those films that no matter what time it is, if I find it starting on TV, I will watch it all the way through.  I think I’ll go watch it right now.

“Was there anyone who didn’t want to kill Kennedy?” – Ashley

C’Est Arrive Pres De Chez Vous (AKA: Man Bites Dog) (1992)

This mockumentary about a vicious serial killer being followed by a documentary film crew attempts to find the line between documentation and complicity.  A dark film with some very subtle comic undertones, Man Bites Dog is more uncomfortable than it is successful.  It felt about 45 minutes too long, which would have shortened the film by about half.  Interesting, but ultimately not really very good.

“Oh this was suppose to be a comedy?” – Ashley

The Crying Game (1992)

It’s been a while since I’ve seen this film, so my only real memory of it is that I managed to see it twice in one weekend, once with each of my parents who didn’t know what it was about…awkward.

“Despite knowing the spoiler twist for a couple decades now I found this a really interesting look at the fluidity of human sexuality.” – Ashley

Dead Man (1995)

Long, slow, and still.  Three things that describe the films of Jim Jarmusch.  Dead Man is all of those things, and it was great.  Not a film for every occasion, nor is it for everyone, but if you appreciate thoughtful introspective and occasionally spiritual films, this one may pique your interest.

“So fucking boring!” – Ashley

Fargo (1996)

Of all the Coen Brothers films to put on this list, both this film, and Raising Arizona are two of their most average.  They are certainly good films, not nearly as reprehensible as Burn After Reading, Intolerable Cruelty, or The Ladykillers, but also not even close to as good as Miller’s Crossing (my personal favorite Coen Brothers film), The Big Lebowski, or Barton Fink.  That being said, Fargo did open up the Coen Brothers’ sensibilities to a whole new crowd of viewers and introduced the masses to William H. Macy, and Peter Stormare, so in that respect, it was a good choice.  Otherwise, a real missed opportunity for this list of “best movies”.

“I love that the lead is a smart strong women. Really great movie too.” – Ashley

The Passion of the Christ (2004)

Awful, over-hyped, manipulative, horror-porn along the likes of Hostel, and Hostel 2.

“Yeah, yeah we get it Jesus got his ass beat.” – Ashley

The Aviator (2004)

Even genius doesn’t shine all the time.  Yet another movie where the mega-talented Scorsese teams with the mega-mediocre DiCaprio, and turns in underwhelming results.  One of the greatest living cinematographers in the world said it best, describing The Aviator as a “handjob” for Hollywood, and while I don’t think it’s quite that, he certainly spends the entirety of this film writing an elaborate love letter.  Cate Blanchett was really wonderful as Kate Hepburn, if only DiCaprio could do some acting that isn’t just his usual approach of squinting and leaning forward into the camera.

“Leonardo is actually tolerable in this movie. Though he still can’t do an accent worth a shit.” – Ashley

So, there you have it.  Another 25 in the bag.  See you next time!

La Pianiste (AKA: The Piano Teacher) (2001)

La Pianiste (AKA: The Piano Teacher) – 2001

Director – Michael Haneke

Starring – Isabelle Huppert, Annie Girardot, and Benoit Magimel

Oh, Michael Haneke.  You and your sparse, harsh morality tales!  I know from the moment that I hear this particular director’s name, that I am going to be witness to an unflinching account of the baser side of human behavior. This prolific filmmakers work often comes on a tide of praise and accolades despite their typically dark subject matter. Of his films, I’ve seen Cache, The White Ribbon, and now The Piano Teacher, all of them difficult stories about fractured people, poorly relating with one another.

As one might gather from the film’s title the main character of this film, Erika, is a teacher of the piano. On her exterior, she is a rather harsh and cold woman, she harbors a deep desire for connection that she doesn’t get from her overly dramatic live-in mother, or from her pristine and rather antiseptic relationship with music.

She spends her time looking down her nose at her students and pre judging them based on their understandably timid nature around her, playing piano, oh, and she may cut herself just for laughs. One of her students, Walter, attempts to get her attention first through music, then through flirting, encountering rejection at each turn.  Next, he takes a somewhat more drastic approach by following her into the ladies room, clumsily embracing her, and forcing a kiss on her. She responds, a mite unexpectedly, by opening up to him about her desire to be dominated, humiliated and abused both verbally and physically.

Initially, Walter seems excited, expressing a desire to learn more, and stepping up his advances.  However this eventually gives way to unease and eventually to disgust as Erika outlines exactly what it is she would like him to do to her.   This time it is he who does the rejecting and she who begins the pursuit.  This trading back and forth of who has the power in this relationship is fueled mainly by his anger (with her and with himself), and her need for attention and affection (confused and misguided as it may be).  It seemed to me that her desire to be dominated mirrored in many ways her tumultuous relationship with her mother, and perhaps there have been other similarly motivated relationships that have informed her view of how men and women are supposed to cohabitate.

The acting in this film is typical of the other Haneke films that I have seen, slow in pace, severe in tone, and more than a little uncomfortable.  Isabelle Huppert pushes the role of Erika to such a point that I basically stopped liking her, and then was able to bring her back to a point where I felt sorry for her, rescuing her from the clutches of my uncaring.  Now whether or not you like the character at the end, that is a pretty remarkable feat for an actor to pull off.  Unfortunately, I don’t think Benoit Magimel had as much success, nor as much to work with.  By the end of the film, I totally didn’t like Walter at all, and it’s not as if I started off liking him a lot.  Walter seemed overly eager to me, and by extension, a little insincere and false.  I always felt like he was trying to put one over on Erika, in order to get something (most likely sex although I was ready for anything, money, a laugh, even some sort of bizarre revenge) from her.

In the end though, I felt this film to be inferior to both of the other Haneke films that I’d seen previously.  The Piano Teacher lacked the raw menace and shock that came with Cache, and it lacked the austere beauty, and hidden danger and anger that came out of The White Ribbon.  Cinematographically speaking, this film didn’t have all that much going for it.  While composed well enough, the shots seemed ordinary and almost placid, succeeding only in simple documentation of the character’s actions.  Though that may have been a conscious choice (I hope it was anyway), it’s not one that really worked for me.  The story wasn’t shocking enough to juxtapose the calm stability of the imagery, and the imagery wasn’t artful enough to keep me entertained while watching it.

Mr. Haneke has at least one other film on this list that I have yet to see, Funny Games, which was ultimately re-made by him (for english speaking audiences), also called funny games.  I’ve heard some real praise for that film, both versions of it , but also some warning of its harrowing nature, and I must say that I’m a more excited to see that film as it seems like it might have a little more to say even if it’s more disturbing.  The Piano Teacher seemed a rather light effort to me, one that certainly wouldn’t have ranked as one of the 1001 best films ever, but also one that covered similar material as did films like Secretary, and Y Tu Mama Tambien, which were in terms of craft, construction and message, leagues better than this one.

La Jetee (AKA: The Pier) (1961)

La Jetee

La Jetee (AKA: The Pier) – 1961

Director – Chris Marker

Starring – Jean Negroni

Although this small scale, experimental film is short in length, it is certainly long in premise.

***SPOILERS***

If you’ve seen the Terry Gilliam film, 12 Monkeys, then you know the basic gist of what La Jetee is attempting.  La Jetee, the basis for 12 Monkeys, doesn’t have as much story to deal with, but still manages to pack a lot of plot into its 30 min. run time.  Unfortunately (in my humble opinion) it’s innovation and it’s stumbling block are the same, the delivery of the story not through motion pictures, but through still photos, or Photo Roman.  (For those who’ve never heard of it, Photo Roman is an older style form of story telling that is essentially photo-montage.)

***END SPOILERS***

I say, “stumbling block”, because the pacing of the film really is unable to accelerate to the degree I felt it needed to in order to stay exciting.  The drab black and white photos, while completely serving the tone of the film, somewhat hinder it’s ability to keep the audience engaged for the duration.  Save for one short sequence, the entirety of the film is in the Photo Roman style, with a French-accented English-language narration over the top over the top of it.  While this may have been a fine choice for a work that was 10 minutes, 30 minutes is a long time.

The story, for those who haven’t seen or heard of 12 Monkeys, is a simple one in theory, but a complex one to illustrate in a piece as short as this.  We open on our main character as a young boy with his parents at the airport, watching planes take off.  While there he is witness to an act of murder, imagery that sticks with him throughout his entire life.  Soon after, a terrible disaster (in this case a nuclear fueled World War 3) strikes and his home town of Paris is leveled.  We jump forward many years in the future,  the world on the surface is uninhabitable, and people are forced to live underground.  Our main character is now a prisoner of the “winners” of the war, and subject to experiments trying to send him through time for the answers to re-populate the earth.  The strong imagery of the man’s death, makes him an ideal candidate for the process, but his keepers may have ulterior motives for him when he returns.

The music/sound effects are the only other element that helps to carry this work along, and while they are well done and very tonally appropriate, they do very little to pick the pace up.  The Photo Roman style works very well to get across the dreariness of the main character’s present-day setting, but it does very little to capture the nostalgia and romance of his earlier days.   The impression that this story feels like a found record of what happened (a’la “The Blair Witch”, or “Cannibal Holocaust”), works well most of the time, and helps to see why this movie was influential in film history.  An area that doesn’t work as well with that tone, is the airport setting.  Some of the photography is pretty stunning, but after seeing it the first time through his younger self, the subsequent times we visit the airport don’t have any more impact, and in-fact, may have less.

By and large, La Jetee was a good piece of work that was most certainly influential, but it felt incomplete, and was ultimately overshadowed by the very similar, and visually superior, 12 Monkeys.

“If only all family vacation slideshows were this interesting.” – Ashley

La Passion De Jeanne D’Arc (AKA: The Passion of Joan of Arc) (1928)

PassionofJoanofArc

La Passion De Jeanne D’Arc (AKA: The Passion of Joan of Arc) – 1928

Director – Carl Theodor Dreyer

Starring – Maria Falconetti

Quite possibly Carl Theodor Dreyer’s most influential work, The Passion of Joan of Arc owes a lot of it’s notoriety and it’s impact to it’s lead actress, Maria Falconetti.  The fear, and passion thatFalconetti conjures on camera througout the duration of the trial of Joan,  is not merely some plot point to enhance the story, it IS the story.

Staged almost entirely within the courtroom or her jail cell, the story of Joan of Arc is fairly straight forward, so much so that most people know the jist of it even if they don’t know that they know it.  Joan, the famous saint, and girl warrior, is on trial for her alleged heresy (actually she was only officially tried for wearing in-appropriate men’s clothing).  During this trial, everything from her value structure to her manner of dress is drawn into question.  Evidence is forged, and heavy eccliesiatic persuasion is used.  Through it all Joan held to her beliefs, and was eventually sentenced to death.  This is not a spoiler, it’s too well known to have spoiled anything.

From the opening shots of the courtroom, I was immediately struck by how upclose and invasive the camera work seemed to be.  Not invasive of the actors, but of me.  Shot in striking, uncomfortable close-ups, Joan’s accusers seem warped and distended.  Each face (with the exception of Joan’s) takes on a sinister look, frowning, sneering, and conspiring with a simple furrow of the brow.  Joan on the other hand, seems to have a perpetually wet, upturned gaze, similar to a lot of religious paintings.  She is given more room in the frame and as a result, she serves as a respite for us as viewers when she is on screen.

I tried my damnedest to watch it in it’s original silent state, but after catching myself nodding off a bit, I turned on the optional audio track of accompanying music.  Let me tell you…this helps SO much!  The music serves as a balast not only for the dramatic action happening on screen, but for pacing, dramatic effect, and as an additional means of engaging the audience.

One thing I was surprised about when watching this, was the over-all quality of image that this version (the Criterion Collection edition) offered.  I am used to these older films being so grainy and damaged that they seem almost blurry, so it was quite a surpise to find that the print was clear as a bell, with only a few scratches and flaws in the picture quality.  Another final critique, since this story is based on actual documentation of the court proceedings, the reach of the story seemed lacking.  I would have liked to have heard more about Joan’s deeds before her trial, whether or not they were truthful or distortions put forth by her accusers, it would have helped to liven up the story a bit.

By and large, The Passion of Joan of Arc was a pleasant surprise to me.  The image quality in particular, but also the acting, and pacing managed to avoid the trappings (read: length) that many other silent films fall into.  While there were slow moments, the last scene of the rioting villagers being fought off by palace guards was more than enough to smack me across the face.

Le Voyage Dans La Lune (AKA: A Trip to the Moon) (1902)

Le_Voyage_dans_la_lune_poster

Le Voyage Dans La Lune (AKA: A Trip to the Moon) – 1902

Director – Georges Melies

They called director George Melies, the magician, due to level of special effects and fantasy storytelling in his work (well…that and the fact that before working in film he was a magician by trade).  His most famous creation, Le Voyage Dans La Lune, or A Trip to the Moon, was a real watershed moment in the history of film.  Simple in camera tricks, fades, dissolves, not to mention his love of special effects, were monumental stepping stones for the modern structure and the overall language of film today.  His techniques were utilized and added upon by later masters such as D.W. Griffith (who despite his controversy, is widely considered the father of film editing), and were subsequently adopted as staples of the language of film.

At just over 12 minutes, story of A Trip to the Moon is a relatively simple one.  A group of astronomers and learned men pile into a rocket, and are fired in a large cannon all the way to the moon.  Once there, the men discover a strange and alien world filled with mirthsome stars, and angry constellations.  Due to a snow storm created by Jupiter (the god?) they are driven underground into a subterranian cavern.

It is in this underground castle that the story really picks up steam.  They encounter a humanoid creature that jumps around frantically and suprises the men.  Typically of humans, they react violently, hitting him with an umbrella which causes him to explode into dust and smoke.  The moon man’s enraged kinsman launch an assault on the earthlings, eventually capturing them although not before they kill a bunch more of the moon people.  The men are brought before the king of the moon, who chastises them for their cruelty.  What happens next?  They break free and kill the king of course.   The earthlings escape their captors and get back to their ship, manageing to fall back to earth to land in the ocean and be rescued.

The story is brief, but imagination it took to realize it visually was astounding.  At the time, the Lumiere brothers and Edison and his Black Maria company were putting out slice of life type films, that showed people leaving the factory, or a train coming into the station.  Melies not only constructed a story with a beginning, middle, and an end, but he also filled in the blanks on the visual side of things.  Stars and constellations came to life, and monsters sprang from the ground and were dispatched in a shocking and exciting manner.  The most famous image from this masterwork shows the face of the moon with the scientists rocket lodged in it’s eye.  The experiences and imagery that Melies gave to his audiences were things they had never seen before.  Things that defied logic, yet they were there on the screen.  They are some of the most enduring images ever produced.  Truely Melies was a magician.

So this film, the first film on the long list, is my 20th full review.  That means, when you combine the 300 movies that I’ve already seen from the list with these 20 that I’ve watched specifically for it, I’ve seen 32 percent of the entire thing.  This puts the total that I’ve reviewed at 70 even, thats counting the bulk reviews that I’ve done so far of course.  Not too shabby.  I’m still having fun, and I’m still excited to watch more and continue on to the end!

“I think it might have been staged.” – Ashley

…there’s more…

So it’s time again for a batch of the movies that I HAVE seen.  We are starting to get more into the time frames from which I’m more familiar with, although there are still a ton of movies from this roughly ten year span that I haven’t seen.  Either way I have some work ahead of me, so without further ado…

The Stranger (1946)

This was one my more recent Orson Welles views.  As one of his less talked about films, I didn’t know whether it was something that I should expect to really enjoy like The Third Man, or Mr. Arkadin, or if it was more of a “I was young and needed money” type of movie.  I was pleasantly suprised to find that it was the former rather than the latter.  Welles plays a former member of the Nazi party hiding out in plain sight in small town America.  He is being pursued by the ever vigilant Edward G. Robinson, who isn’t quite sure whether this is the man he is hunting, or if he is simply a small town school teacher.  The Stranger is a fantastically underrated film, Welles as a director, and both Welles and Robinson as actors are top of their game!

“The Stranger asks the age old question: What’s worse,  accidentally marrying a Nazi, or purposely grooming your eyebrows to look like semi-circles?” – Ashley

La Belle Et La Bete AKA Beauty and the Beast (1946)

Of the two versions of this film and one version in Television format (that I’ve seen anyway), I much prefer this black and white, french one from the mid 40s.  The magical whimsy that Cocteau naturally imbues this film with, through the special effects costumes, and the poetic nature of the story, far surpasses the Disneyfied and televised versions.  Jean Marais seems natural, alien, and feral all at the same time, as the beast.

The Big Sleep (1946)

Fantastic for so many reasons, not the least of which that this story serves as the inspiration for as well as the loose structure of The Big Lebowski, one of my favorite movies of all time.  Bogart and Bacall are never better together than they were in this, each at the top of their games, and each with their roles fitting like gloves.

“Wait…now who’s that guy again?” – Ashley

The Killers (1946)

I have to admit, I like the second version of The Killers, directed by Don Siegel of Dirty Harry fame, better than this 1946 version by Robert Siodmak.  Despite liking source material, Siodmak, the actors Burt Lancaster and Ava Gardner, there is just something about seeing Ronald Reagan and John Cassavettes playing opposite each other (Reagan in the villan role) that captured my attention and cheered me up.

“Ava Gardner, you so pretty!” – Ashley

Great Expectations (1946)

The rare, short David Lean film, Great Expectations was suprisingly to me, not as daunting as it could have been.  Great performances by Alec Guinness as Herbert Pocket, and Martita Hunt as Miss Havisham.

Notorious (1946)

I like this movie, although I do not necessarily love it as I feel I’m supposed to.  Cary Grant and Ingrid Bergman are great actors, but I feel that too much is made of this film.  Worth the watch, but ultimately films like Casablanca, Charade, and Rear Window are much much better.

“B.I.G!” – Ashley

Out of the Past (1947)

This is a fantastic film noir starring Robert Mitchum and Kirk Douglas, about the owner of a small town gas station, whose mysterious past catches up with him when a big time criminal boss lures him into a world of crime.  Awesome cast!  Kirk Douglas makes a great villain.

Ladri Di Biciclette AKA The Bicycle Thief (1948)

It has been such a long time since I’ve seen this movie, and since that time I’ve seen so much more in the way of foreign and art films.  And while I thought some of those films were strictly better, The Bicycle Theif still remains a benchmark against which I weigh other movies.  This film more than any other introduced me to and maintained my interest in Italian Neo Realist film.  From here I moved through the years to Fellini, Pontecorvo, Germi, Bertolucci, Pasolini, and of course Antonioni.  Still, The Bicycle Theif remains in my head, as clear as when I first saw it.

“Italian Neo-Realism…boooooring!” – Ashley

Rope (1948)

Not one of his best films, but certainly, Rope stands as an interesting experiment.  Comprised of 5 or 6 different long camera takes, Rope is effectively a filmed stage play.  The transitions inbetween scenes are fairly clever as they are meant to be invisible, making it seem as if it were filmed entirely in one take.  The action, suspense, and plot twists depend entirely upon the acting, as the camera cannot do any elaborate or special movements.  The plot centers around some young men who, as an experiment to see if they can get away with it, have murdered their fellow classmate.  As a means of proving how perfectly constructed this crime is, they host a dinner party while the body of the victim is still in the room.  It is up to Jimmy Stewart, a guest at the party, to reconstruct how it happened and expose the two murderers.

The Lady from Shanghai (1948)

Orson Welles.  Murder.  A beguiling lady.  With those ingredients you have  the recipe for an awesome movie.  To tell you facts about the plot, would almost give away too much.  Needless to say, check it out, it’s awesome.

The Red Shoes (1948)

This tragic fairytale utilizes saturated comicbook-esque color to highlight the passions in the life of the young ballerina, Victoria Page.  The color red, specifically, stands out as a sort of totem color standing for passion, drive, and even obsession.  While beautiful to look at, the story is not as engaging as some others of this era, the film’s main plot is mostly love story and for a self professed action buff, I felt it was lacking something.

The Treasure of the Sierra Madre (1948)

All you need to know about this movie:  AWESOME FUCKING MOVIE!  SEE THE SHIT OUT OF IT!!!!

Kind Hearts and Coronets (1949)

Alec Guinness is a master of disguise in this dark comedy about inheritance, and family relations.  It is a good film, a real good film actually, but I didn’t think it needed any further hype than that.  It certainly gave was the grandfather to a lot of grade B or lower films that have come out of Hollywood, Eddie Murphy pretty much has copied the premise of Kind Hearts and Coronets in all of his more recent flicks from the Nutty Professor to the present (and by this I don’t mean the failed humor, I mean the fact that Alec Guinness plays so many different characters.)

The Third Man (1949)

An absolute classic!  Orson Welles plays Harry Lime to the nines, pairling each of his moments onscreen with his dialogue, utilizing each to the fullest.  Joseph Cotten plays Lime’s jilted best friend, hunting for the elusive truth about his pal.  He is torn between his attraction to Lime’s girl, and the loyalty he feels toward his friend.  Pitch perfect in every way, right down to the bombed out rubble of the post-war Vienna setting (The film was actually in and around post-war Vienna).

Orphee AKA Orpheus (1949)

Just like “La Belle et la Bete”, another film by Jean Cocteau, Orpheus is a beautiful piece of lyrical, visual poetry.  It is filled with similar themes of death, life, love, mirror images, and redemption.  Highly visual, and despite being fairly sussinct for all of it’s ambition, it accomplishes it’s goal.

The Asphalt Jungle (1950)

A film noir through and through, from the “one last heist” type plot down through the starkly bleak urban setting.

Rashomon (1950)

The film that introduced the rest of the world to Akira Kurosawa, and Toshiro Mifune (Through the Venice film festival).  That alone warrants it’s inclusion on this or any other list of influential films, but Rashomon has so much else going for it.  It is the story of an assault, and murder, told after the fact from each of the points of view of the parties involved, the witness, the bandit, the wife, and even the victim.  Completely blew me away when I first saw it!

“If you don’t like this movie, I’ll punch you in the face.” – Ashley

Sunset Boulevard (1950)

Quite possibly the best film noir movie out there.  An ingenious story toying utilizing elements of Hollywood’s past (Gloria Swanson, Erich von Stroheim, Buster Keaton, and Cecil B. DeMille, all play integral parts in the story, some, like DeMille and Keaton, play themselves), and it’s future combining them together artfully and cohesively.  Billy Wilder’s fascination with cynicism finds a comfortable home in this tale of stars who are not ready to be forgotten.

“Don’t move to Hollywood.” – Ashley

Strangers on a Train (1951)

Hitchcock’s story about a chance meeting on a train that ends in murder.  One of his more atmospheric films, Strangers on a Train is a potboiler right down until the end, despite the stakes being revealed from the onset.

“Murder-swap!” – Ashley

The Lavender Hill Mob (1951)

Yet another Alec Guinness film that serves to highlight his subtle yet potent presence.  Here, as a seemingly mild mannered bank clerk, he masterminds a heist to smuggle a shipment of gold out of the country.  Filled with spot-on comedic moments and timing, this movie along with the original version of the Ladykillers is tied as my favorite Alec Guinness film (not including the original Star Wars Trilogy).

The Day the Earth Stood Still (1951)

A hallmark of science fiction, The Day the Earth Stood Still, seems a little dated and the premise is a little thin.  I enjoyed watching it, but I have to say for a genre of movies that depends highly on the visuals and special effects, it didn’t have the affect on me that it would have if I’d grown up with it.  That being said, it is still a fun story, and is certainly responsible for inspiring a huge number of films and directors that are inspiring me today.  Klaatu…barada…nikto.

Ikiru AKA To Live (1952)

This film asks the question, “Can one person make a difference?”, and answers with a resounding yes!  After years upon years as his bureaucratic, mundane job accomplishing nothing, Kanji Watanabe learns he has cancer and strives to do something worthwhile with the rest of his life.  Something that will make a difference to someone.  This is one of Kurosawa’s best films, illustrating the perils and dilemmas of the everyday person and demonstrating each person’s responsibility for their legacy.  Warm, humanistic, and bold, this film should be required viewing for everyone.

Le Salaire De La Peur AKA Wages of Fear (1953)

An excellent adventure film, the Wages of Fear strives to break out and be more than the definition of it’s genre.  The good news is that it succeeds.  Utilizing tension and pacing, Henri George Clouzot, keeps the audience on the edge of their seats as our (anti)heros accend the trecherous mountain pass in trucks carrying nitroglycerine, in order to stop a fire at an oilwell.  The people sent on this mission are completely disposible, each doing it for the high pay that comes with the completion of this dangerous job.  Re-made as Wizards, a film by William Friedkin, and starring Roy Schieder, The Wages of Fear stands out as one of the best action movies that I’ve ever seen.

On the Waterfront (1954)

Mired in controversy due to Director, Elia Kazan’s anti-communist and anti-union sentiments, (Kazan named names during the blacklisting period of the fifties in Hollywood) the good qualities of the film can sometimes be overshadowed.   Marlon Brando, and Rod Stiger turn in Oscar worthy performances, deserving recognition outside of this argument.  The film itself still stands as an alegory to the cancerous nature of communism and the power of the individual worker against the greedy union and mob influences.  Not as powerful a film as it is often hyped up to be, but certainly important to the history of Hollywood, and definitely worth a watch.

“Method = No enunciation. ” – Ashley

Rear Window (1954)

One of the best films ever made, and certainly Hitchcock’s best film, Rear Window does so much with so little.  It serves as a meditation on the voyeuristic nature of movies, and in society, all the while telling a cracking good yarn.  Hitchcock combines visual and storytelling elements of Jacques Tati, Orson Welles, and Billy Wilder, while adding in his own gift for mystery and suspense.  This is the best of all worlds, a nearly perfect film.  Not to mention it has the beautiful Grace Kelly in it too!

“Your creepy neighbor may save your life.” – Ashley

Well, that’s it for now.  Hopefully you’ve enjoyed another installment of the short but sweet reviews of these films that I’ve already seen.