Petite chérie

Also known as: Little Darling, Little Darlin’
Genre: black comedy
Director: Anne Villacèque
Release: 2000
Studio: Arte France Cinéma, Tadrart Films, StudioCanal, GAN Cinema Foundation, Ognon Pictures
Rating: –
MBiS score: 7.9/10


He May Be A Creep But He’s Mine, All Mine


At 30, Sybille (Corinne Debonnière) works in a bank and lives with her parents (Patrick Préjean and Laurence Février) but, ever a romantic, she hasn’t stopped looking for Prince Charming. While coming home one night, she meets a (not very) tall (but definitely) dark stranger named Victor (Jonathan Zaccaï). Could he be the one?

I don’t consider myself a diviner − especially not in matters of the heart − and I feel much safer writing about things that are known or verifiable. That being said, I can confirm one crucial fact about PETITE CHÉRIE: love will reach Sybille’s doorstep… only it won’t be the stuff of dreams and romance novels. In fact, her every effort to attain happiness will yield surreal or disturbingly funny results. And that’s what I like best about this movie… it refuses to play nice, even with a subject as sensitive as a woman’s quest for love. What Anne Villacèque has achieved here, with the help of co-screenwriter Élisabeth Barrière-Marquet, is neither tender nor mawkish. PETITE CHÉRIE gives no quarter.

Formally speaking, Anne Villacèque’s film is modest but accomplished. It boasts adequate production values and a credible cast led by Corinne Debonnière as the quiet but determined Sybille, Laurence Février as her bubbly (!) mother and Jonathan Zaccaï as the prize. For now, that’s all you really need to know.

Of course, I have no way of knowing if you’ll watch this film − given my poor predictive powers − but I’m sure you won’t cry your eyes out if you do. PETITE CHÉRIE is a movie played for laughs… that may also keep you awake a little longer than usual at bedtime.


MBiS

© 2011 – All rights reserved

Two Mules for Sister Sara

Genre: western
With: Shirley MacLaine, Clint Eastwood, John Kelly
Director: Don Siegel
Release: 1969
Studio: Malpaso Productions, Universal Pictures
Rating: PG
MBiS score: 7.6/10


QuickView


Story-line: during the occupation of Mexico by French forces (1864-1867), an American mercenary rescues a nun and agrees to escort her.
Pluses: fine performances from an engaging Shirley MacLaine and a tough Clint Eastwood, solid action, competent direction and some really funny moments.
Minuses: none, except for outbursts of violence.
Comments: a suspenseful and amusing ‘buddy movie’ coupling saint and sinner in circumstances where faith needs to be backed by dynamite. As for the mules… don’t ask.


MBiS

© 2011 – All rights reserved

Suddenly, Last Summer

Genre: psychological drama
Director: Joseph L. Mankiewicz
Release: 1959
Studio: Horizon Pictures – Columbia
Rating: -
MBiS score: 8.4/10


What’s On Your Mind, Catherine Holly?


When the new neurosurgeon at Lyons View asylum, Dr. Cukrowicz (Montgomery Clift), objects to his working conditions and threatens to go back to Chicago, the asylum director, Dr. Hockstader (Albert Dekker), pleads with him to stay on. Hockstader doesn’t deny that his institution lacks even the basics but he’s convinced that a local philanthropist, Mrs. Violet Venable (Katharine Hepburn), will provide it with much-needed cash. There is one possible hitch, however: Mrs. Venable wants Cukrowicz to perform a lobotomy on her disturbed niece, Catherine Holly (Elizabeth Taylor). With Mercedes McCambridge (Mrs. Grace Holly, Catherine’s mother), Gary Raymond (George Holly, Catherine’s brother) and Mavis Villiers (Miss Foxhill, Violet’s secretary).

Yes, this kooky film may be difficult to size up… but some background info will certainly help. SUDDENLY, LAST SUMMER is based on a play by Tennessee Williams and takes place circa 1938 in New Orleans (typical Williams country). It’s essentially a tragic tale sprinkled with symbolism, ferocious humour and grisly stories about plants, turtles and bugs. On screen, it translates into an interesting, wholly convincing and expertly rendered film that will satisfy all movie buffs.

In SUDDENLY, LAST SUMMER, you will find some features emblematic of the theatre, like a slow narrative buildup, a clear emphasis on psychology and conflict, truths uncovered piecemeal and precise, instructive dialogues. Moreover, you’ll meet vigorous characters representative of Williams’ world. Violet, a Southern aristocrat, reminded me of two other of the playwright’s creations, Amanda Wingfield (THE GLASS MENAGERIE) and Blanche DuBois (A STREETCAR NAMED DESIRE); the patently troubled Catherine may also recall Tom Wingfield, Amanda’s impatient and rebellious son. To support these two strong characters, Williams has imagined the suspicious-looking Holly family that witnesses the drama while Cukrowicz and Hockstader plan the operation. As for themes developed, you will again recognize Williams’ handiwork and logical, masterful storytelling… but I won’t go into details. Patience is a virtue and SUDDENLY, LAST SUMMER handsomely rewards the patient viewer.

Formally, Joseph L. Mankiewicz and crew have done justice to Williams’ play, delivering a motion picture poetic in its horror and awesome in its power. The film showcases two of the greatest actresses to have graced the screen, Katharine Hepburn and Elizabeth Taylor, in memorable, powerhouse roles. An inspired supporting cast does the rest, especially Montgomery Clift and Mercedes McCambridge whose stunningly funny turn contrasts with her rock-hard rendition of Sadie Burke in ALL THE KING’S MEN. Form and content lead to an unpredictable and potent climax that will stay with you long after the movie’s final frames have dissolved from the screen.

Luck may have nothing to do with it but, nevertheless, I hope you’re lucky enough to catch SUDDENLY, LAST SUMMER. As Violet would say ‘[…] what a blessing, Doctor, to be just peaceful. To be just suddenly peaceful. After all that horror. After those nightmares.’


MBiS

© 2011 – All rights reserved

Shallow Grave

Genre: crime thriller
With: Ewan McGregor, Kerry Fox, Christopher Eccleston
Director: Danny Boyle
Release: 1994
Studio: Figment Films, FilmFour et al. – Gramercy Pictures
Rating: R
MBiS score: 8.2/10


QuickView


Story-line: Juliet, David and Alex are faced with a lucrative problem when their new roommate dies unexpectedly.
Pluses: a brisk set-up, inspired acting, a quirky mood and good direction.
Minuses: none, except for a couple of ghastly scenes.
Comments: SHALLOW GRAVE, a fresh take on a well-worn premise, was a first for Ewan McGregor and Danny Boyle, who teamed up again one year later for TRAINSPOTTING, another far-out flick. This one’s for movie buffs who want lively, suspenseful and surreal entertainment!


MBiS

© 2011 – All rights reserved

Women in Love

Genre: psychological drama
Director: Ken Russell
Release: 1969
Studio: Brandywine Productions – United Artists
Rating: R
MBiS score: 8.2/10


What Is This Thing Called Love? (with many thanks to Cole Porter)


WOMEN IN LOVE is set in an English mining town during the 20s. The sisters Brangwen, Gudrun (Glenda Jackson) and Ursula (Jennie Linden), have reached that time in life when sentiments clamour or, more prosaically, a woman in their situation must resign herself to marriage. But whom should they wed? For her part, Ursula favours Rupert Birkin (Alan Bates), a philosophizing school inspector, while Gudrun is attracted to the fiery Gerald Crich (Oliver Reed). With Eleanor Bron (Hermione Roddice), Alan Webb (Thomas Crich, Gerald’s father), Catherine Willmer (Gerald’s mother), Sharon Gurney (Laura, his sister), Christopher Gable (Tibby Lupton) and Vladek Sheybal (Loerke).

To avoid any disappointment on your part, I should warn you not to expect a neat and tidy story from WOMEN IN LOVE, which is based on a D.H. Lawrence novel. Like a work in progress, this atypical and very startling film follows its four main characters over some time and doesn’t provide a definite denouement. Through Gudrun, Ursula and their mates (who, contrary to the film’s title, take up nearly as much space in the narrative), WOMEN IN LOVE’s odd screenplay examines several philosophies of love. But a film about love is not necessarily a smoochfest and, in this case, hate, misunderstanding, jealousy and cruelty spring up ever so often to mess up lives that hang by a thread. Characters discuss their feelings, complain about the duplicity around them and rail against the hardships of existence; love, it seems, won’t chase away for long their chronic, deeply rooted melancholy.

If you find such issues depressing, let me reassure you: WOMEN IN LOVE also contains eye-opening scenes of sheer bizarreness that you’d never imagine in a period film. Yes, this movie is both wrenching drama and squirmy fun. Anyway, it did teach me a few things about labour relations, graveyard etiquette, picnics and fireside sports. Seeing is believing!

Concretely, WOMEN IN LOVE is a quality motion picture. It boasts fine production values and a sturdy cast led by two intense thespians, Oliver Reed and Glenda Jackson (in her first of two Oscar-winning performances). Ken Russell’s direction is effective and sober − one tender scene between Rupert and Ursula struck me as simply ravishing − with artistic touches here and there that add symbolism to the narrative.

Is there something else I should tell you? Not really, I believe. When you feel ready for a lesson in love, even one delivered by imperfect and vacillating teachers, I do hope you’ll turn to Gudrun, Ursula, Rupert and Gerald. Ken Russell’s WOMEN IN LOVE is waiting for you.


MBiS

© 2011 – All rights reserved

Ship of Fools

Genre: psychological drama
With: Oskar Werner, Simone Signoret, Vivien Leigh
Director: Stanley Kramer
Release: 1965
Studio: Columbia TriStar Motion Picture Group - Pacific Title & Art Studio
Rating: -
MBiS score: 8.3/10


QuickView


Story-line: in 1933, on a cruise ship leaving Veracruz (Mexico) and headed for Bremerhaven (Germany), several characters meet, bond or clash.
Pluses: a formidable cast (including Jose Ferrer, Lee Marvin, George Segal and Elizabeth Ashley), Simone Signoret’s undeniable star power, Oskar Werner’s touching turn, top-flight direction and a particularly tragic story.
Minuses: none whatsoever.
Comments: intolerance, restless love, Nazism and human misery… such is the fare offered to our tourists on the SHIP OF FOOLS. Here’s to a quality film from yesteryear that deserves to be seen by all movie buffs.


MBiS

© 2011 – All rights reserved

Rope

Genre: crime thriller
Director: Alfred Hitchcock
Release: 1948
Studio: Transatlantic Pictures, Warner Bros. - Warner Bros., Universal
Rating: PG
MBiS score: 8.0/10


Some People Can’t Get A Joke


In a New York City apartment where they will soon entertain guests, Brandon Shaw (John Dall) and Phillip Morgan (Farley Granger) are keeping themselves busy by strangling a good friend of theirs, David Kentley (Dick Hogan), with a piece of rope. When David dies, Brandon is so ecstatic that he calls the act a masterpiece, an artistic triumph. Has the duo committed the perfect crime? Brandon believes so… and it’s a murder for connoisseurs, not for the common man! With Edith Evanson (Mrs. Wilson), Cedric Hardwicke (David’s father), Constance Collier (Mrs. Atwater), Douglas Dick (Kenneth Lawrence), Joan Chandler (Janet Walker) and James Stewart (Rupert Cadell).

If this film’s premise seems too grotesque, cruel or disgusting to you − for good reason, I might add − you should brace yourself for a few minutes of queasy viewing while Brandon basks in the glory of his crime (Phillip’s reaction, for reasons I won’t reveal, is far less enthusiastic). When the duo’s guests arrive and the party begins ‘in earnest’, the movie will take on a less threatening tone but you mustn’t expect tact or moderation from Alfred Hitchcock, given his reputation as a ‘master of the macabre’; there will be humour, yes, but only in shades of black. Most of ROPE, which is based on true events and a Patrick Hamilton play, hinges on a few pivotal words such as ‘concealment’, ‘cat and mouse’ and ‘impunity’. It should be enough to build a fine and chilling movie spectacle… which is exactly what Hitchcock and a writing team composed of Hume Cronyn, Arthur Laurents and Ben Hecht have accomplished here.

Aside from its shocking subject matter, ROPE is a cinematic curiosity for reasons of technology. According to Moviehead, a commentator here in Canada, Hitchcock wanted to shoot his story in one long take, as if in real time, but obviously couldn’t because his cameras didn’t allow it. He thus decided to film it in segments that were linked together to simulate continuous action; you will surely notice these links, which appear as odd close-ups, interrupting the narrative every eight minutes or so. This inconvenience aside, Hitchcock’s direction is flawless and the movie’s dramatic tension develops logically and very effectively. Acting is also irreproachable (especially by John Dall) but it’s James Stewart’s inspired performance that really fires things up. As for production values, they are satisfactory but by no means extravagant… since all of the action takes place in a single apartment. The movie’s strong payoff is also well worth your time and viewing effort.

In the same way that crime requires motive, you may need some incentive to see ROPE, considering its dark, unappealing side. If you can’t find one too readily, let me suggest mine: Hitchcock’s movie instructs us on the criminal mind and on human nature itself. As abhorrent as its content may seem at first, it does reflect some people’s thinking… and thus serves a useful purpose. Chicken strangling, anyone?


MBiS

© 2011 – All rights reserved

Gloire de mon père (La) - Château de ma mère (Le)

Also known as: My Father’s Glory − My Mother’s Castle
Genre: family biographies
With: Philippe Caubère, Julien Ciamara, Nathalie Roussel
Director: Yves Robert
Release: 1990
Studio: Gaumont, Production de la Gueville, TF 1 Films Productions, Ministère de la Culture de France − Orion Classics
Rating: G − PG
MBiS score: 8.5/10 and 8.2/10 respectively


QuickView


Story-line: this French double bill recounts Marcel Pagnol’s childhood under the smiling skies of Provence.
Pluses: fine acting, vivid dialogues (especially if you understand French), outstanding cinematography, direction and period detail, resplendent settings and one of the most beautiful musical themes ever used in cinema.
Minuses: none whatsoever. Due to its revelatory nature and stronger content, I did prefer the first picture devoted to Joseph, Marcel’s father.
Comments: as if born into nobility, Marcel Pagnol, a great writer and moviemaker revered in all of France, deserved nothing less than a blessed childhood. At first glance, you may think it was excessive to dedicate two full-length films to his parents but, once you set foot in Marcel’s magical kingdom, your enchantment will be total and your pleasure genuine. Salut, Pagnol!


MBiS

© 2011 – All rights reserved

Three Days of the Condor

Genre: political thriller
Director: Sydney Pollack
Release: 1975
Studio: Paramount Pictures
Rating: R
MBiS score: 8.6/10


I Really Thought This Was A Desk Job


When Joe Turner (Robert Redford) returns to his office at the American Literary Historical Society after a routine errand, he discovers that all of his co-workers have been murdered. What should he do? Why did this happen? Joe needs answers and, to get them, he will turn to his superiors… at the CIA. With Faye Dunaway (Katherine ‘Kathy’ Hale), Cliff Robertson (Higgins), John Houseman (Wabash) and Max von Sydow (Joubert).

The years 1973 to 1975 were especially agitated in the United States. The last months of a wasteful war in Vietnam (remember the slogan ‘Peace with honour’?), an economy choked off by stagflation, the culmination of the Watergate scandal and Richard Nixon’s resignation… these events and others deeply worried Americans, sparked acrimonious debate and caused much soul-searching in the Republic. It is often said that times like these nurture great art and Hollywood did react to the chaos ambient with excellent and thought-provoking works, among them THREE DAYS OF THE CONDOR, an intelligent movie unafraid of tackling big issues. It begins innocuously enough with everyday scenes and a poppy jazz theme by Dave Grusin but suddenly turns dangerous, even desperate, when Joe finds himself stranded in a new, sinister world. To get his bearings and, more urgently, to survive from day to day, he will need to connect the dots and summon up his resources which are, fortunately for him, abundant and varied.

Guided by James Grady’s novel and a taut screenplay by Lorenzo Semple Jr. and David Rayfiel, Sydney Pollack has fashioned a magnificent political thriller here, a work of limited scope that also carries, as if by paradox, implications for our whole planet. Rarely will you see a game of hide-and-seek so chilling, so important and so tightly rendered. Of course, THREE DAYS OF THE CONDOR wouldn’t be as hard-hitting without its stellar cast led by Robert Redford who delivers one of his best roles ever. Equally unforgettable are Faye Dunaway and Cliff Robertson, along with Max von Sydow, the great Swedish actor. Production values, notably cinematography, are beyond reproach.

I have no doubt that THREE DAYS OF THE CONDOR will keep you on tenterhooks for the duration but, at the risk of being too insistent, I urge you to pay special attention to its last ten minutes. Right then and there, you will hear the most implacable tenets of modern geopolitics stated with unusual bluntness… and they are very damning for our Western way of life. If only for these pungent remarks on the conduct of world affairs, Pollack’s film ranks as one of the finest in its genre.


MBiS

© 2011 – All rights reserved

Play It Again, Sam

Genre: comedy
With: Woody Allen, Diane Keaton, Tony Roberts
Director: Herbert Ross
Release: 1972
Studio: Paramount Pictures
Rating: PG
MBiS score: 8.2/10


QuickView


Story-line: your love life may be in a rut, Allan Felix, but help is on the way!
Pluses: an original premise in which magic realism is used to good effect, a very enjoyable screenplay penned by Woody Allen, solid acting and hilarious one-liners.
Minuses: none whatsoever. I only wish it was a little longer…
Comments: one of my favourite Woodys, PLAY IT AGAIN, SAM depicts his cinematic alter ego as a lovable, neurotic loser you’ll root for all the way. It’s so full of great scenes and dialogues that I’d like to store it permanently in my movie-playing mind. Enjoy this fun film about the one subject that touches all of us!


MBiS

© 2011 – All rights reserved

Destinées sentimentales (Les)

Also known as: Les Destinées, Sentimental Destinies, Sentimental Destiny
Genre: slice-of-life drama
Director: Olivier Assayas
Release: 2000
Studio: Arena Films, CAB Productions, TF1 Films Productions et al. – Wellspring
Rating: -
MBiS score: 8.4/10


Lives Battered By The Winds Of Change


LES DESTINÉES SENTIMENTALES takes place in Charente (the west central region of France famous for cattle and cognac) and its story begins circa 1900. The Protestant community of Barbazac, smallish in numbers and surrounded by a vast Catholic majority, faces a new kind of crisis: marital problems between its pastor, Jean Barnery (Charles Berling), and his wife Nathalie (Isabelle Huppert). According to some of the Faithful, Nathalie has been seeing another man but nobody knows for sure. What everyone hopes for is a resolution of the issue, and the sooner the better. With Emmanuelle Béart (Pauline), Olivier Perrier (Philippe Pommerel, Pauline’s uncle), Dominique Reymond (Julie Barnery Desca), André Marcon (Paul Desca, Julie’s husband), Alexandra London (Louise Desca) and Julie Depardieu (Marcelle).

The word ‘epic’ is often associated with extraordinary stories that involve numerous characters and issues of great import but, as the Canadian Oxford Dictionary tells us, it also applies to ‘an exceptionally long and arduous task or activity’. In this light, the fascinating LES DESTINÉES SENTIMENTALES can be considered an epic on a personal if not universal scale. Jean Barnery’s life was indeed tumultuous. Over a thirty-year period, the film follows him and two local families of entrepreneurs, the Barnerys (porcelain makers by trade) and the Pommerels (a group of distillers). Considering the life-changing events he will face during his time (personal and family crises, a World War, the Roaring Twenties, the Great Depression), you can only admire his will and resourcefulness.

French moviemakers often take pains to depict people at work (were they painters, psychologists, farm labourers or sculptors) and, in the present case, Olivier Assayas shows us some of the effort required to make fine porcelain and quality spirits; as director and screenwriter (with Jacques Fieschi), he also delivers a splendid adaptation of Jacques Chardonne’s novel. His actors − without exception! − serve him excellently. Charles Berling, for one, has built himself a great career and his acting here attests to his stature in Gallic cinema. As for the radiant Emmanuelle Béart, I won’t reveal how she fits into the story (as tempting as it may be) but Pauline’s role is deserving of her formidable talent. Isabelle Huppert also shines as a tough-minded woman and Olivier Perrier’s screen presence is noteworthy. Dialogues ring very true, whether they speak of love, business or life in general, and visuals are simply sumptuous. If you choose to see this film (and I sincerely hope you do), its lightning start may confuse you temporarily but its three-hour length will give you ample time to catch up… and the spectacle is never boring!

While writing this review, I stumbled upon the terms ‘humble’ and ‘grandiose’ in my trusty dictionary. Normally, I wouldn’t dare use them both to describe a movie but, then again, LES DESTINÉES SENTIMENTALES doesn’t care much for antonyms and lexicology. This rare film simply moves on… and brings us back to the priorities of life.


MBiS

© 2011 – All rights reserved

Grand Prix

Genre: sports drama
With: James Garner, Yves Montand, Eva Marie Saint
Director: John Frankenheimer
Release: 1966
Studio: Cherokee Productions, Metro-Goldwyn-Mayer Studios Inc. (MGM)
Rating: -
MBiS score: 8.5/10


QuickView


Story-line: rev up your engines… another season of Formula One racing is under way.
Pluses: a strong international cast, interesting characters, solid thrills, first-rate production values and a powerful ending.
Minuses: GRAND PRIX may be a lengthy film (at 3 hours)… but it doesn’t feel long at all.
Comments: even if you care little about motor sports, this spectacular drama will astound you with its portrayal of men and women living in a jet-set world of speed, glamour and danger. GRAND PRIX is a genuinely suspenseful film that goes full throttle.


MBiS

© 2011 – All rights reserved

Jindabyne

Genre: psychological drama
Director: Ray Lawrence
Release: 2007
Studio: Film Finance Corporation Australia (FFC), Nomura Babcock & Brown Productions, Redchair Films, April Films
Rating: R
MBiS score: 8.2/10


Gone Fishing, Gone Wrong



The workweek has not ended yet but Stewart (Gabriel Byrne), Carl (John Howard), Rocco (Stelios Yiakmis) and Billy (Simon Stone) are already dreaming about the great fishing they’ll enjoy over the weekend. Escaping the daily grind should do wonders for the foursome… and then again, it might not. With Laura Linney (Claire, Stewart’s wife), Sean Rees-Wemyss (Tom, their son), Betty Lucas (Vanessa, Stewart’s mother), Leah Purcell (Carmel, a teacher and Rocco’s friend), Deborra-Lee Furness (Jude, Carl’s wife), Eva Lazzaro (Caylin-Calandria, Carl and Jude’s granddaughter), Chris Haywood (Gregory), Tatea Reilly (Susan) and Alice Garner (Elissa, Billy’s wife).

As far as wilderness movies go, DELIVERANCE will please the action fan, MEAN CREEK showcases the younger set and JINDABYNE appeals to adult audiences of both sexes. This Australian production may not be a ‘pure’ adventure film − for it spends a good deal of time on personal and family issues before and after that fateful weekend − and its meticulousness may try some viewers early on but, when all is said and done, Ray Lawrence’s film stands as a mature, realistic take on guilt, responsibility and misunderstanding in our plain, everyday world.

Robert Burns famously wrote that ‘The best laid schemes of mice and men often go awry’ and JINDABYNE illustrates this fact of life with a frankness that rattles the conscience. For Stewart and his group, problems at home will be compounded by what happens on the other side of the mountain, new issues will arise and relationships will sour; even their long-awaited encounter with nature will seem creepy and hostile at times. Facing the unexpected and uncovering truths you never imagined, especially ugly ones, can infect your mind not for a day but for a week, a year or the rest of your life. Gender issues are also raised in JINDABYNE and we all know how potent and divisive they can be.

Whatever the genre, a movie is a collaborative work and, in JINDABYNE’s case, the result of many strong efforts. Beatrix Christian’s screenplay, which is based on a Raymond Carver short story, opens with a flush of intriguing snippets and, generally speaking, paints a rich and observant portrait of ordinary lives. Ray Lawrence, who brought us LANTANA, a film of similar ambitions, shows tact and patience in directing JINDABYNE’s complicated story. On screen, his acting team delivers solid turns, particularly Laura Linney. Production values, for their part, are satisfying throughout.

You have surely noticed how life can alert you to what’s ahead though you scarcely realize it at the time. Such a moment stands out in JINDABYNE, on the Friday night before the big outing, as the guys are sharing a meal with their ladies in a restaurant. When Billy acknowledges his love for Elissa, you will hear this curious exchange (quoted from memory):

- Carl: You’ll see, Elissa. Billy is leaving home a boy and he’ll return a man.
- Elissa: I want him to return as he is now.
- Jude: You can’t be sure… with those perverts.

Was it a sign of things to come? I do believe it was... but don't take my word for it. See JINDABYNE, a deceptive and ultimately haunting experience in cinema and in life.


MBiS

© 2011 – All rights reserved

Mediterraneo

Also known as: Mediterranean
Genre: psychological drama
With: Diego Abatantuono, Claudio Bigagli, Claudio Bisio
Director: Gabriele Salvatores
Release: 1990
Studio: Pentafilm, AMA Productions − Prestige Films, Buena Vista Worldwide Home Entertainment
Rating: R
MBiS score: 7.9/10


QuickView


Story-line: in 1941, eight Italian soldiers are ordered to take control of a Greek island… and find out that war isn’t all it’s cracked up to be.
Pluses: a gentle mood, good acting, a paradisiac setting and a logical screenplay by Vincenzo Monteleone.
Minuses: some viewers may find the story a bit lacking in content, which explains this film’s moderate MBiS score.
Comments: MEDITERRANEO, an offbeat film that involves no real violence, depicts stranded soldiers that time forgot. The old motto ‘Make love, not war’ would certainly apply to this competently made and visually appealing movie. Sounds like a pleasant time for cinephiles!


MBiS

© 2011 – All rights reserved

Road To Guantanamo (The)

Genre: political docudrama
Directors: Michael Winterbottom and Mat Whitecross
Release: 2006
Studio: Revolution Films, Screen West Midlands − Roadside Attractions
Rating: R
MBiS score: 8.4/10


Welcome, Tourists, To Satan’s Cuban Resort


THE ROAD TO GUANTANAMO begins with a press conference in which President George W. Bush, referring to British citizens held captive in Cuba on terrorism charges, asserts that they are ‘bad people and we look forward to working closely with the Blair government to handle this situation’. From such a starting point, the film tells the tumultuous tale of Ruhel, Asif and Shafiq, the ‘Tipton Three’, who had travelled to Pakistan for a wedding, were taken prisoners by Northern Alliance forces in Afghanistan and were ultimately incarcerated in Cuba’s notorious Guantanamo Bay detention camp. With Rizwan Ahmed (Shafiq), Ruhel Ahmed (himself), Asif Iqbal (himself), Shafiq Rasul (himself), Farhad Harun (Ruhel), Waqar Siddiqui (Monir) and Arfan Usman (Asif).

Over the years, Michael Winterbottom’s directorial choices have been eclectic and fascinating. For one thing, he has shown a distinct interest in geopolitics and THE ROAD TO GUANTANAMO, codirected with Mat Whitecross, exemplifies his concern for world issues. This cold and special movie, which straddles the line between documentary and fiction film and may recall MIDNIGHT EXPRESS, tells the troubling story of three Brits who were accused of terrorism even though they had not seen combat. On screen, their confinement looks awful enough… imagine how nerve-racking and life-changing it must have truly been. In Cuba especially, they had to survive on a daily regimen of intimidation, interrogation and inhumanity that may disturb you; personally, I was appalled by the sheer brutality of their treatment.

Despite its messy subject, THE ROAD TO GUANTANAMO is remarkable for its proficient direction (honoured with a Silver Bear in Berlin), frantic editing and glorious visuals. The images captured in Pakistan and Afghanistan are particularly amazing, I thought. As a bonus, expect solid acting and a relentless narrative. This is powerful, riveting, outstanding cinema.

I see no need to comment further on THE ROAD TO GUANTANAMO because this is the kind of film you must experience for yourself. After seeing it, you will probably reflect on the war on terror that has been raging for ten years now, maybe even twenty. I know I did… and it doesn’t look any clearer now from my point of view. Are there only ‘good guys’ and ‘bad guys’ in this global chess game founded on ideology, politics and religion? Where do legitimate security concerns end and paranoia take over? Is the ‘war’ being waged on the right front? I find torment in these unanswered questions. Do you?


MBiS

© 2011 – All rights reserved

Heartbreak Kid (The) (1972)

Genre: comedy
With: Charles Grodin, Jeannie Berlin, Cybill Shepherd
Director: Elaine May
Release: 1972
Studio: Palomar Pictures International, Inc. − Twentieth Century-Fox Films
Rating: PG
MBiS score: 8.0/10


QuickView


Story-line: looks like Leonard and Lila will make a great couple… if they can just survive their honeymoon!
Pluses: wonderful acting (especially by the above-mentioned trio and a very cranky Eddie Albert), able direction, a funny story by Bruce Jay Friedman and Neil Simon.
Minuses: none whatsoever.
Comments: in THE HEARTBREAK KID, there is a place for everything and everything’s in its place. This is what a successful comedy should look and feel like… it goes with the flow instead of forcing the issues. Wait till Charles Grodin drives you up the wall!


MBiS

© 2011 – All rights reserved

In the Bedroom

Genre: psychological drama
Director: Todd Field
Release: 2001
Studio: Miramax Films
Rating: R
MBiS score: 8.2/10


At What Point Does Pain Become Unbearable?


Romance can spring up anywhere and, in the humble fishing town of Camden, Maine, Dr. Matt Fowler (Tom Wilkinson) and his wife Ruth (Sissy Spacek) are pleased but also embarrassed. Their son Frank (Nick Stahl), who’s back from architecture school for the summer, has met a single mom named Natalie (Marisa Tomei) and has fallen for her big-time. But is this just a fling for Frank or the first sign of something serious? That’s the quandary facing the Fowlers. And what about Natalie’s ex-husband, Richard Strout (William Mapother)? How does he feel about it?

There is more to IN THE BEDROOM than my synopsis indicates − for one thing, it involves a lot of anguish as alluded to in my title − but the less you know before seeing it, the harder it will hit you. Todd Field’s excellent drama, which is based on a story by Andre Dubus III, doesn’t fool around with its subject matter. The dilemma posed to the Fowler family is shown unadorned, gut-wrenching and bitter.

Should I comment on this film’s production values? Not really, for they are unassailable. As for its cast, Sissy Spacek, Marisa Tomei and Tom Wilkinson are true to their well-developed characters and Nick Stahl exudes boyish charm but the real surprise, in my mind, comes from William Mapother who plays his dark role with complete conviction. Please note that, after an auspicious beginning, IN THE BEDROOM may seem to drag on halfway through − I felt it did, I confess − but don’t quit on it because the action picks up considerably after that. As you watch Matt struggling with his emotions, you wonder about Ruth’s… and the tension generated by this gravest of questions makes for a psychologically gripping third act that will keep you on edge until the closing credits.

For these reasons and IN THE BEDROOM’s mature reflections on personal relationships and the difficulties they can engender, the time you’ll spend watching it will be time well spent. The more you live, the tougher your options get to be.


MBiS

© 2011 – All rights reserved

Once Were Warriors

Genre: social drama
With: Rena Owen, Temuera Morrison, Mamaengaroa Kerr-Bell
Director: Lee Tamahori
Release: 1994
Studio: New Zealand Film Commission, Communicado Productions − Fine Line Features
Rating: R
MBiS score: 8.2/10


QuickView


Story-line: for Beth, a daughter of New Zealand’s Maori aristocracy, life with unemployed husband Jake ‘the Muss’ Heke and five children is proving much rougher than she had expected.
Pluses: fine acting, strong direction and a screenplay raising painful but important topics.
Minuses: be forewarned that the domestic violence depicted in ONCE WERE WARRIORS, while in keeping with the plot, reaches an intensity seldom seen in the movies.
Comments: a startling and necessary film about alcoholism, poverty and tradition in one aboriginal family. ONCE WERE WARRIORS is a worthy and thought-provoking picture for sure.


MBiS

© 2011 – All rights reserved

Gosford Park

Genre: social drama
Director: Robert Altman
Release: 2001
Studio: U.K. Film Council, USA Films et al.
Rating: R
MBiS score: 8.2/10


For Servants As Well As Bakers, The Upper Crust Can Be A Problem


GOSFORD PARK takes place in 1932, somewhere in the English countryside. The McCordles, Sir William (Michael Gambon), wife Sylvia (Kristin Scott Thomas) and daughter Isobel (Camilla Rutherford), have invited friends over to their estate for a hunting party. Among their honoured guests are the following:

- Countess Constance Trentham (Maggie Smith) and her maid Mary Maceachran (Kelly Macdonald);
- Sir Raymond Stockbridge (Charles Dance), wife Louisa (Geraldine Somerville) and servant Robert Parks (Clive Owen);
- a cousin, actor Ivor Novello (Jeremy Northam), accompanied by American producer Morris Weissman (Bob Balaban) and servant Henry Denton (Ryan Phillippe);
- the Honourable Freddie Nesbitt (James Wilby) and Mabel (Claudie Blakley);
- Commander Anthony Meredith (Tom Hollander) and Lavinia (Natasha Wightman).

Creature comforts for Sir William’s invitees will be provided by the McCordle staff which includes, in order of rank:

- Mrs. Wilson (Helen Mirren);
- Jennings (Alan Bates);
- Mrs. Croft (Eileen Atkins);
- maid Elsie (Emily Watson);
- servants George (Richard E. Grant) and Probert (Derek Jacobi).

This splendid gathering promises gastronomic delights, delicate entertainment and elegant sniping… unless tempers heat up. Also with Stephen Fry (Thompson).

---

Whew! Watching GOSFORD PARK can be perplexing at first because of its large cast and slow-burning narrative but, if you remember the groupings above and show a little patience, you will have no trouble finding its rhythm and enjoying it to the full. A motion picture with so many moving parts naturally needs a bit of time to set up and pick up steam. Just wait for that crucial twist (you’ll know when you get there) and you won’t be able to turn away after that.

Conceptually, GOSFORD PARK may recall the old UPSTAIRS, DOWNSTAIRS television series in its depiction of two worlds separated by class and social conventions. Credit must be given to Julian Fellowes for his screenplay that develops its characters intelligently and affords them some interesting dialogues to work with; for the sake of honesty and as a matter of personal taste, I will add that one character annoyed me somewhat because his humour clashes with the film’s overall mood but, in truth, he does provide a counterpoint and his interventions have little bearing on the plot. Directorial duties are handled with flair and a steady hand by the great Robert Altman (1925-2006) for whom ensemble films have been a career specialty (like his classic NASHVILLE and the very strong SHORT CUTS). Did I comment on the acting? Well, well… it’s hunky-dory!

Is this enough to convince you? I do hope so but, if you’re still on the fence, here’s my last and best argument: far from leaving you empty-handed, Altman’s film closes with an astonishing climax. If only for that feeling you’ll get when the mystery is resolved, you’ll never forget GOSFORD PARK. As one of the servants would say, ‘Don’t you like surprises?’


MBiS

© 2011 – All rights reserved

Officer and A Gentleman (An)

Genre: psychological drama
With: Richard Gere, Debra Winger, David Keith
Director: Taylor Hackford
Release: 1981
Studio: Lorimar Film Entertainment, Martin Elfand
Rating: R
MBiS score: 8.1/10


QuickView


Story-line: Zack Mayo, a young man with a chip on his shoulder, is intent on becoming a Marine pilot. Problem is, Sergeant Foley and a young woman named Paula stand in his way.
Pluses: fine acting by a talented cast including Louis Gossett Jr., a gritty tale about discipline, achievement and love.
Minuses: none really, except for those punishing push-ups.
Comments: this one will please everyone since it’s both a tough military drama and a very romantic movie. Go for it!


MBiS

© 2011 – All rights reserved

Birdman of Alcatraz

Genre: psychological drama
Director: John Frankenheimer
Release: 1962
Studio: Norma Productions, United Artists Films
Rating: -
MBiS score: 8.6/10


Lost and Found


In Alaska circa 1911, young Robert Stroud (Burt Lancaster) makes a tragic mistake when he kills a man who has allegedly beaten a prostitute friend. Found guilty of murder, he is sent to the notorious Leavenworth penitentiary in Kansas where he is accused of not ‘conforming’ by warden Harvey Shoemaker (Karl Malden). Now hardened by his rage, Robert will continue defying one and all… until a walk in the prison yard during a rainstorm gives him a new outlook on life. With Neville Brand (Bull Ransom), Thelma Ritter (Elizabeth Stroud, Robert’s mother), Betty Field (Stella Johnson) and Telly Savalas (Feto Gomez).

It’s easy to comment on BIRDMAN OF ALCATRAZ since it tells its true story in an orderly fashion and without turning it into a melodrama. Wonderfully played by Burt Lancaster − a winner in Venice for his performance − and a solid cast of veteran thespians, admirably conceived for the screen by John Frankenheimer, Robert’s tale of violence, long struggle and redemption is an original classic bristling with humanity.

‘Moving’ and ‘inspirational’ are adjectives used too frequently in movieland today but, in this case, they are more than appropriate. I should know… a little bird told me.


MBiS

© 2011 – All rights reserved

Bicycle Thief (The)

Also known as: Ladri di biciclette
Genre: personal drama
With: Lamberto Maggiorani, Lianella Carrel, Enzo Staiola
Director: Vittorio De Sica
Release: 1948
Studio: Vittorio De Sica Productions, Mayer-Burstyn, Cifex Film
Rating: -
MBiS score: 9.2/10


QuickView


Story-line: to Antonio Ricci, his bicycle meant everything… until it was stolen.
Pluses: fine acting, world-class direction, a compelling and tragic story.
Minuses: absolutely none.
Comments: this gripping and heartbreaking film, one of the best examples of Italian neo-realism, has withstood the test of time. A true masterpiece. Do see it!


MBiS

© 2011 – All rights reserved

Rapture (The)

Genre: religious drama
Director: Michael Tolkin
Release: 1991
Studio: Rapture Productions, New Line Cinema − Fine Line Features
Quote from www.catholic.org (Book of Revelation, chapter 10, verse 10)
Rating: R
MBiS score: 8.6/10


There Are Some Who Never Think About It And Others Who See It Everywhere


‘Operator 134. What city? Hold on for your number… Operator 134. What city? Hold on for your number…’

Sharon (Mimi Rogers), an information operator, probably has one of the most brutal jobs in LA. Sitting in a dark and dreary cubicle, a headset glued to her ear, she is required to direct callers quickly – one every 15 seconds or so – and efficiently for hours on end. When her work is over, she shakes off her kinks the kinky way by cruising the streets with her friend Vic (Patrick Bauchau) in search of couples ready to share sexual fantasies. Doubt has not yet crept into her mind… the kind of existential doubt that turns whole lives around. With David Duchovny (Randy), Kimberly Cullum (Mary) and Will Patton (Foster).

Among Hollywood movies, THE RAPTURE is the rarest of rare birds. It doesn’t fit into any category, eschews formulas and refuses to compromise its vision for the sake of mass appeal. I’ve seen plenty of films in my time but, honestly, I can’t think of any other displaying such courage… or outright gall. Why are we here? Where are we headed? What can we do about it? Or should we even bother? It is these questions, the most crucial in human existence, that Michael Tolkin’s film dares to ask… and to answer in its own special way.

THE RAPTURE is a true motion picture paradox. As revealing as its title can seem − with its reference to salvation and the ultimate experience for Christian believers − you can scarcely imagine what this film will show you and how it will take you to its destination. Tolkin’s low-budget and low-key approach to Sharon’s story − to which other filmmakers would have given the blockbuster treatment, complete with superstar casting and full-blown special effects − is also surprising and even spooky… yet everything fits. Sharon’s conversion feels unforced, her New Agey turnaround satisfies her need for fulfillment and her actions and reactions certainly reflect human nature. It also helps that Mimi Rogers plays her demanding role with goggle-eyed bravery and conviction; all through Sharon’s journey, she succeeds in conveying each and every emotion, whether it be insensibility or suffering, panic or happiness, serenity or rage. The other cast members also deliver reasoned performances although Sharon’s dominance does limit their contributions. Production values are adequate, dialogues logical and well-constructed, the movie’s moods cold and foreboding, its images astounding. For the rest, expect the unexpected, as is the rule in life.

I should end my review with a word of caution. Some critics have hailed THE RAPTURE as a radical film while others have found it artificial and pompous. Its boldness will undoubtedly catch you off guard though it offers a rather faithful interpretation of the Holy Scriptures. When its denouement hits the screen, it will either amaze you, scare you off or revolt you but it won’t leave you indifferent for it speaks to the essence of what we are. Judging from personal experience, I was reminded of a passage in the Book of Revelation where the narrator was offered a small scroll to eat. ‘I ate it and it tasted sweet as honey, he writes, but when I had eaten it my stomach turned sour.’ It is mixed feelings like these that THE RAPTURE will arouse in you. This is why Tolkin’s film is so extraordinary, even for those of us who don’t believe in Christ.


MBiS

© 2011 – All rights reserved

Au revoir les enfants

Also known as: Goodbye Kids − Goodbye, Children
Genre: personal drama
With: Gaspard Manesse, Raphaël Fejtö, Philippe Morier-Genoud
Director: Louis Malle
Release: 1987
Studio: Nouvelles Éditions de Films, Marin Karmitz Productions, Stella Films − Orion Classics
Rating: PG
MBiS score: 8.9/10


QuickView


Story-line: at Sainte-Croix College during the winter of 1943-44, the arrival of a new student, the young Bonnet, puzzles one of the school regulars, Julien Quentin.
Pluses: fine acting by a cast of mixed ages, expert direction, a moving story treated with exemplary sensitivity.
Minuses: none whatsoever.
Comments: a few years before SCHINDLER’S LIST, the great Louis Malle wrote and directed this film depicting the secret plight of a young Jew in occupied France. Strictly speaking, Steven Spielberg’s work should be given a higher score because of its vastness and scope compared to Malle’s humble film but both deserve equal reverence for their humanity. These are vitally important movies to be seen by all.


MBiS

© 2011 – All rights reserved

Best Man (The)

Genre: political drama
Director: Franklin J. Schaffner
Release: 1964
Studio: United Artists
Rating: PG
MBiS score: 8.6/10


It’s Amazing How Little Has Changed!


The time is 1964 and THE BEST MAN begins in a Los Angeles convention centre. At the podium, a speaker introduces ‘the next President of the United States, our own Secretary of State, William Russell!!’ An enthusiastic crowd roars in approval but candidate Russell (Henry Fonda), watching the scene on TV with reporters and operators, won’t address his supporters just yet. Before that, he has questions to answer, people to placate, problems to solve and rivals to think about. Like it or not, this is the wonderful world of big-time politics. With Cliff Robertson (Joe Cantwell), Edie Adams (Mabel, Cantwell’s wife), Margaret Leighton (Alice, Russell’s wife), Kevin McCarthy (Dick Jensen, Russell’s campaign manager), Lee Tracy (President Art Hockstader), Ann Sothern (Sue Ellen Gamadge), Gene Raymond (Don Cantwell, Joe’s brother), Shelley Berman (Sheldon Bascomb) and Mahalia Jackson (in a singing role).

Rodney Dangerfield often complained that he couldn’t get any respect but he is fondly remembered and will remain so for a long time to come. In the universe of American cinema, however, THE BEST MAN seems like a castoff… and for some reason, I suppose. A rather old flick in a world where newness always matters, it was shot in black and white instead of eye-catching colour and bears a title so nondescript that it could be mistaken for any kind of film (Malcolm D. Lee’s comedy of 1999, for one). Who would guess that this BEST MAN is an awe-inspiring exposé about politics in America (and elsewhere for that matter)? I sure didn’t and I do hope you will take notice and try to catch this astute and useful drama.

Its main talking point (if I may say so) is a masterly screenplay by Gore Vidal that raises a host of issues and fuses them into a compelling and realistic story. Though THE BEST MAN depicts a selection process more open and unpredictable than today’s money-fuelled primary races, its content is in no way outdated or irrelevant. Everything’s there, in plain view and vivid detail: the importance of leadership, personal image and Presidential spouses, the backroom deals, mudslinging and fratricidal smiles, the ethical questions posed by the candidates’ backgrounds and platforms, the truths, half-truths and patent lies, the obligatory media circus and, of course, the blinding, all-consuming attraction of power. Not only are these issues played out intelligently but they also stir up many great quotes like Art Hockstader’s quip on the future presidency of a Jew or a black man… and eventually a woman. Later, the same Hockstader will utter another gem that goes something like this: ‘I was going to support you but, if I don’t anymore, it’s not because you’re a bastard but because you’re a stupid bastard.’ Shades of the body politic? Or of the ‘bawdy politic’ as pundits have often remarked? It’s a bit of both and, moreover, a clear example of insider knowledge unavailable to us ordinary folk. No wonder we’ve grown so cynical about public office!

Realism aside, THE BEST MAN is also a thrilling show brought to us by an inspired team. Franklin J. Schaffner’s direction is seamless and frantic as it translates the craziness and breakneck pace of a politician’s life, builds strong tension and keeps Vidal’s surprises under wraps until just the right moment. Acting-wise, Henry Fonda shines as a respected party man more prone to reflection than to action while Cliff Robertson’s incandescent Joe Cantwell, energetic and merciless, sees the presidency as the grandest of conquests for a small-town guy. Ann Sothern and the rest of the cast also deliver fine performances. By the way, it may be incorrect to label THE BEST MAN as a satire; it owes much more to serious drama but I’ll admit it uses humour very effectively… in a political vein, naturally.

But where does this glorious brouhaha take us in the end? To an enthralling payoff on screen − the kind of denouement that does American moviemaking proud − but also to a depressing conclusion about the state of our nations. With political systems as warped as today’s, parties and governments simply cannot entrust our future to ‘the best man or woman’. As for democracy itself, it is ironic to see it proclaimed an ideal and a ticket to freedom for countries that have been deprived of it while it is twisted, violated or slowly hollowed out in countries that have practised it for centuries. I know democracy is a matter of choice, but what can you do when none of the choices offered appeals to you? On that account, THE BEST MAN’s clear-eyed appraisal of human nature points to a future that looks iffy at best.


MBiS

© 2011 – All rights reserved

Comes a Horseman

Genre: modern western
With: Jane Fonda, James Caan, Jason Robards
Director: Alan J. Pakula
Release: 1978
Studio: United Artists Films
Rating: PG
MBiS score: 8.4/10


QuickView


Story-line: in Montana, at the end of World War II, a battle for acreage pits a woman rancher, a land baron and a former GI.
Pluses: wonderful acting, first-rate direction, splendid photography by Gordon C. Willis and a riveting story.
Minuses: none whatsoever.
Comments: this contemporary cowboy flick will definitely please all serious movie fans with its suspenseful story-line and tough characters. Those of you who like their James Caan quiet-looking but rock-hard better not miss this one!


MBiS

© 2011 – All rights reserved

Sundowners (The)

Genre: frontier family drama
Director: Fred Zinnemann
Release: 1960
Studio: Warner Bros. Pictures – Warner Bros. Pictures Distribution
Rating: NR
MBiS score: 7.3/10


Walk A Mile With Me… And Don’t Mind The Sheep Dung


THE SUNDOWNERS takes place in Australia during the 30s and begins with the three-member Carmody family roaming the countryside in a beat-up carriage. Paddy Carmody (Robert Mitchum), the head of the family, loves to go from town to town in search of work as a ranch hand; his tired wife Ida (Deborah Kerr), by contrast, would rather see him settle down and build a future for their son Sean (Michael Anderson Jr.). Stopping this time near an inviting little farm, Paddy plans on finding a job to his liking and snatches one the very next day: a six-week-long sheep drive paying one shilling a head. Oh, Ida, you’re such a lucky lady! With Peter Ustinov (Sir Rupert ‘Rupe’ Venneker), Glynis Johns (Mrs. Gert Firth), Dina Merrill (Jean Halstead), Chips Rafferty (foreman Quinlan), John Meillon (Bluey) and Wylie Watson (Herb Johnson). Screenplay by Isobel Lennart.

According to the Merriam-Webster Online Dictionary, the Australian word ‘sundowner’ refers to a hobo, a tramp or, more precisely, a person who makes it a habit of arriving somewhere late enough to obtain food and lodging while avoiding any real work. In Fred Zinnemann’s movie, which was inspired by a Jon Cleary novel, the Carmodys are not scroungers but honest folk who work hard and don’t take root anywhere. Once you see Paddy doggedly running after a dingo early on, you’ll agree with me that this man is not allergic to strenuous labour. He’s also a faithful husband, a sometimes irresponsible bloke and a true boozer that Robert Mitchum incarnates with vigour and an impish smile; try as I may, I can’t imagine any other thespian playing this endearing and enraging character with equal brio. As Ida, Deborah Kerr counters Mitchum’s masculine presence with her own excellence and some great comedic timing; in fact, her aura, courage and good spirits light up THE SUNDOWNERS even more brightly than big Mitch’s fine performance. The other players behind the Carmody couple also shine in amusing roles. You can count on Peter Ustinov to provide some effective comic relief as the smart-alecky Venneker while Glynis Johns, cast as a hotel manager, is utterly hilarious.

As a whole, however, THE SUNDOWNERS didn’t do it for me because its acting and other strengths – magnificent photography, bracing atmosphere, solid craftsmanship and healthy mix of comedy and drama – are oddly defeated by a standard, old-fashioned story-line that delivers mild, sanitized entertainment and little more. Most of the action can be summed up in a few plain words − work, money, open spaces, lifelong dreams − and when a late-coming twist takes the family in an entirely new and surprising direction, it doesn’t delight as much as it confounds. By then, most of the Carmodys’ magic has already been exhausted and the story, though steadfast in its logic, ends with a whimper; anyway, let’s give some credit to the family for remaining lovable throughout. On another level, I couldn’t understand where the Carmodys fit in the larger scheme of things since no social or historical context is established; perhaps the novel is more informative on this issue.

As I write this, I truly strain to find some personal payoff in the two hours plus I spent on this movie. I can only guess that, in the world of cinema, some films age gracefully while others simply age. THE SUNDOWNERS, though agreeable and quite watchable as general fare, belongs to that brand of moviemaking that tries so hard to please everyone that it loses its edge and resonance over time. By some strange coincidence, the next film we will review, COMES A HORSEMAN, also rides the wild country but is everything THE SUNDOWNERS is not. Giddy-up!


MBiS

© 2011 – All rights reserved

Where Angels Fear to Tread

Genre: period drama
With: Helen Mirren, Rupert Graves, Helena Bonham Carter
Director: Charles Sturridge
Release: 1991
Studio: Where Angels Fear to Tread Ltd., Stagescreen Productions, Sovereign Pictures
Rating: PG
MBiS score: 8.1/10


QuickView


Story-line: an Englishwoman’s impromptu marriage while on vacation in Italy causes serious problems for her family back home.
Pluses: a top-notch cast, seamless direction, a powerful story.
Minuses: some viewers may find the narrative a bit slow to develop, but it should be expected from an upper-class social drama such as this one.
Comments: E.M. Forster, the novelist who wrote HOWARD’S END, did not shy away from controversial subjects and his criticism of a certain English snobbery in WHERE ANGELS FEAR TO TREAD is biting and relevant. You won’t regret seeing this fine feature showcasing some of the best acting talent in Britain.


MBiS

© 2011 – All rights reserved

Thumbsucker

Genre: adolescent drama
Director: Mike Mills
Release: 2005
Studio: Bull’s Eye Entertainment, Sony Pictures Classics et al.
Rating: R
MBiS score: 7.9/10


Whatever Gets You Through The Night (thank you, John Lennon!)


At 17, Justin Cobb (Lou Pucci) is in an emotional rut. He lacks motivation in school, doesn’t know what to do with his life and has little success with girls. To relieve himself of his inner tension, he has resorted to sucking his thumb, a nasty habit that infuriates his father Mike (Vincent D’Onofrio) and saddens his mother Audrey (Tilda Swinton). With Vince Vaughn (Mr. Geary), Keanu Reeves (Dr. Perry Lyman), Kelli Garner (Rebecca), Chase Offerle (Joel, Justin’s little brother) and Benjamin Bratt.

Over the years, I have developed an interest for modest, second-tier productions (which works out well if you’re mostly into big-leaguers) and I do hope THUMBSUCKER attracts your attention because it’s an odd and engaging little ride. Though its subject matter may sound unappealing – and even repulsive – at first glance, it really stands out among recent Hollywood films due to its lively pace, intelligence and unpredictable story-line.

In content, THUMBSUCKER delivers some funny moments but doesn’t hide the fact that Justin’s life is mostly sad and rudderless. As bright as he is, our young man suffers from chronic insecurity and, all film long, he will struggle against his private demons using all means available to him. In the process, he will receive lots of advice from a motley group of onlookers, among them his mother and father, a gung-ho teacher and an adult mentor, Perry Lyman, who is at once fascinating and flaky (I don’t understand how an orthodontist can smoke on the job but Perry manages it). As an entertainment vehicle, THUMBSUCKER is never boring and some of its success can certainly be attributed to Lou Pucci and an excellent cast led by Tilda Swinton and Vincent D’Onofrio, a thespian who always catches my eye even in minor roles. In fact, there are enough twists and turns in Mike Mills’ film that it may feel disjointed at some point but it bounces back quickly enough and finishes with a nicely conceived denouement. Production values are consistent throughout and direction shows steadiness as well as ability.

More than anything, you will be impressed with THUMBSUCKER’s sensitivity and seriousness. Instead of mocking Justin or making him the star attraction of some adolescent freak show, it confronts him with a question we must all try to answer in life: how does one cope with this exhausting, dog-eat-dog world around us? For this reason alone, Mike Mills’ film is not only diverting but also instructive and worthy. A little advice never hurts and Perry’s is as good as any: ‘I accepted myself in all my human disorder. You might wanna do the same.’


MBiS

© 2011 – All rights reserved

Midnight Cowboy

Genre: psychological drama
With: Jon Voight, Dustin Hoffman, Sylvia Miles
Director: John Schlesinger
Release: 1969
Studio: Deluxe, Skywalker Sound, Jerome Hellman Productions
Rating: R N/A
MBiS score: 8.4/10


QuickView


Story-line: Joe Buck, tired of his dead-end life in Texas, heads for New York in search of fame and fortune.
Pluses: powerful acting, a story in tune with the times, solid direction.
Minuses: a brief psychedelic episode may test some viewers.
Comments: MIDNIGHT COWBOY remains a strong indictment of the American Dream and a poignant film about adversity and friendship. One more feather – and a beautiful one – to stick in your movie lover’s cap.


MBiS

© 2011 – All rights reserved

Snow Walker (The)

Genre: adventure drama
Director: Charles Martin Smith
Release: 2003
Studio: First Look Holdings, Infinity Media, Inc., Walk Well/Snow Walker
Rating: PG
MBiS score: 8.1/10


Behold the Great White North, Sense its Majesty and Menace


THE SNOW WALKER takes place in the Northwest Territories circa 1953 and our protagonist, airplane pilot Charlie Halliday (Barry Pepper), acts as a lifeline for native inhabitants of the area. As the story begins, Charlie is asked to deliver supplies to an Inuit band and gets permission to return home via Bathurst to conduct personal business. Taking to the air, he does not yet know that an unusual and important request will upset his well laid plans. With James Cromwell (Walter Shepherd, Charlie’s boss), Kiersten Warren (Estelle), Jon Gries (Pierce), Robin Dunne (Carl) and Annabella Piugattuk (Kanaalaq).

When I sat down to watch THE SNOW WALKER, I had just endured a couple of high-profile letdowns (on which I won’t comment) and I expected very little from this obscure, low-budget Canadian film. On paper, it does appear as noteworthy as a few snowflakes in January but, on screen, it beats down on you like a full-blown polar storm. Once it has set its rhythm and mood, you will realize that Charles Martin Smith’s humble movie stands as a force of nature, an absorbing and affecting trek through land and life. Nothing less, dear movie buffs.

The movie’s simple and genuinely touching screenplay, based on a Farley Mowat short story, showcases two characters bound by destiny and purpose and, as their friend and foe, a Northern expanse both barren and beautiful, a grandiose setting rife with adventure and danger. By way of incident, THE SNOW WALKER also links opposing cultures in a sensible, positive manner. I won’t say more about the plot, having already spoiled some of its impact, but I trust it will still enthrall you.

In other respects, THE SNOW WALKER remains as firm and reassuring as an inukshuk. It is blessed − truly blessed − with solid production values, efficient direction and first-rate acting, mainly from Barry Pepper and Annabella Piugattuk. Its narrative structure, artful juxtaposition of images and moving musical score by Michael Danna are also remarkably effective. Really, this is all you need to know for now.

My advice? Allow yourself some free time – preferably with a loved one – and watch this very impressive film set in a world not too distant but quite different from ours. THE SNOW WALKER deserves your attention and, even more so, your admiration.


MBiS

© 2011 – All rights reserved