All About Eve

Genre: psychological drama (in black and white)

With: Bette Davis (Margo Channing), Anne Baxter (Eve Harrington), George Sanders (Addison DeWitt), Celeste Holm (Karen Richards), Gary Merrill (Bill Simpson), Hugh Marlowe (Lloyd Richards), Gregory Ratoff (Max Fabian), Barbara Bates (Phoebe), Marilyn Monroe (Miss Casswell), Thelma Ritter (Birdie Coonan)

Director: Joseph L. Mankiewicz

Screenplay: Joseph L. Mankiewicz (based on a story by Mary Orr)

Release: 1950

Studio: Twentieth Century Fox

Rating: PG

MBiS score: 8.7/10

 

‟Fasten your seatbelts, it's going to be a bumpy night!” 

 

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Story-line: on this glamorous evening, the Sarah Siddons Society, arbiter of the theatrical world, has chosen to bestow its Award for Distinguished Achievement to-o-o-o… Eve Harrington! The announcement draws admiration and applause from almost all in attendance, but not from those closest to Eve on a personal or professional basis. If you don’t understand their hostility, just ask Addison DeWitt, the well-known critic. He will tell you all about Eve…     

Pluses: fabulous acting by a star-studded cast (it would be unfair to single out one actor or another, so indispensable is everyone’s contribution), an astute and airtight screenplay steeped in character psychology and rich in humorous and gloriously sarcastic dialogues, masterful direction by a top helmer, appropriate production values, fine musical accompaniment and a tremendous denouement.  

Minuses: none. It’s an easy task for me to review pictures as great as this one.

Comments: considering its world-class acting, brilliant story told with panache, ambiguous characters who need to be needed and unanimous acclaim in filmdom (Best Movie Oscar; Jury Prize and Best Actress [Bette Davis] in Cannes), ALL ABOUT EVE is indeed a classic and a must-see for movie buffs. How wicked is it? Try to imagine the theatre as a fancier form of roller derby.    

 

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Big Knife (The)

Genre: psychological drama (in black and white)

With: Jack Palance (Charles Castle), Ida Lupino (his wife Marion), Rod Steiger (Stanley Shriner Hoff), Wendell Corey (Smiley Coy), Jean Hagen (Connie Bliss), Ilka Chase (Patty Benedict), Everett Sloane (Nat Danziger), Wesley Addy (Horatio ‟Hank” Teagle), Nick Cravat (Nick), Shelley Winters (Dixie Evans)

Director: Robert Aldrich

Screenplay: James Poe (based on a play by Clifford Odets)

Release: 1955

Studio: The Associates & Aldrich Company

Rating: -

MBiS score: 8.1/10

 

 

Treachery in Tinseltown

 

 

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Story-line: the movie business has been bountiful for actor Charlie Castle but, at this juncture, he finds himself in an intractable position. Should he defend his ideals for the love of his wife or hang on to fame whatever the cost may be?   

Pluses: strong performances by an anguished Jack Palance (why do I connect him with Clint Eastwood?), Ida Lupino (for her outstanding presence and radiance), Rod Steiger (the epitome of ruthlessness) and a fine cast, a bitter screenplay by Clifford Odets that oozes with scandal, Sirk-style melodrama and scathing dialogues, diligent direction that ramps up the pressure systematically, quality cinematography and production values, a superb musical score by Frank De Vol that goes hand in glove with the story’s main issues.

Minuses: pay close attention to the first 15 minutes because they set the table for what’s to come. Towards the end, the screenplay may feel heavy-handed and overly insistent (that’s my opinion) as it strives to cover every angle of the story.  

Comments: THE BIG KNIFE is a revolting and terrifying mixture of corruption, misery and desperate love that casts such a critical eye on Hollywood and the movie business that you may feel dirty just watching it. Sleaze aside, it deserves to be seen not only as a gut-wrenching drama but also as a showcase for actors that today’s movie buffs should get to know and appreciate.   

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Elegy

Genre: psychological study

With: Penelope Cruz (Consuela Castillo), Ben Kingsley (David Kepesh), Patricia Clarkson (Carolyn), Peter Sarsgaard (Kenny Kepesh), Dennis Hopper (George O’Hearn), Deborah Harry (Amy O’Hearn)

Director: Isabel Coixet

Screenplay: Nicholas Meyer (adapted from the novella ‟The Dying Animal” by Phillip Roth)

Release: 2008

Studio: Lakeshore Entertainment – MGM Distribution Company, Samuel Goldwyn Films

Rating: R

MBiS score: 8.2/10 

 

‟ I think it was Bette Davis who said old age is not for sissies.” 

 

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Story-line: David Kepesh, a renowned author and a teacher of powerful intellect, has reached the age when growing old becomes a daily concern. In this regard, his affair with Consuela Castillo, a young student, has been both revealing and important.    

Pluses: stimulating performances by Ben Kingsley (a fascinating, somewhat cynical David) and Penelope Cruz (as the brave and beautiful Consuela), key contributions from Dennis Hopper, Peter Sarsgaard and an excellent cast, a serious screenplay relying on astute dialogues to delve into themes of sexuality, disillusion and commitment, very attractive cinematography (behold those flattering exteriors of New York City!), an evocative musical score and a subdued yet thought-provoking ending.

Minuses: none really.

Comments: in ELEGY, an involving film that reminded me of Rohmer’s careful dramas, Isabel Coixet trains her eye on a man riddled with doubt because he hasn’t found fulfillment in love. In her illustration of man’s decay, time’s imprint on human emotions and the uneasy bond between generations, she has created a sensible, tormented and much better movie experience than I expected from the outset. Elegy indeed for David Kepesh… but not for him exclusively.   

 

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Vie d’Adèle (la) – Chapitres 1 et 2

English title: Blue is the Warmest Color

Genre: relationship drama  

With: Adèle Exarchopoulos (Adèle), Léa Seydoux (Emma), Salim Kechiouche (Samir), Aurélien Recoing (Adèle’s father), Catherine Salée (Adèle’s mother), Jérémie Laheurte (Thomas), Anne Loiret (Emma’s mother), Benoît Pilot (Emma’s stepfather), Sandor Funtek (Valentin), Mona Walravens (Lise)

Director: Abdellatif Kechiche

Screenplay: Abdellatif Kechiche and Ghalia Lacroix (based on Julie Maroh’s comic book)

Release: 2013

Studio: Quat'sous Films, Wild Bunch, France 2 Cinéma et al.

Rating: R

MBiS score: 8.5/10 

 

A Young Woman’s Quest for Sexual Identity: Tentative, Painful, Ecstatic, Exhausting

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Story-line: Lille, France. When Adèle hears her teacher discussing love at first sight during a literature class, she doesn’t seem very impressed. When her teenage friends tell her that Thomas has a crush on her, she remains indecisive. But when she catches a glimpse of a blue-haired woman on the street, something unexpected happens. She feels a fire inside, one that will not be easily extinguished.     

Pluses: outstanding performances by a vulnerable Adèle Exarchopoulos and a magnetic Léa Seydoux, Abdellatif Kechiche’s restrained direction and moderate pacing, well-measured production values, an open and intelligent screenplay enlivened by brisk dialogues, telling scenes of suffering and passion.

Minuses: all in all, LA VIE D’ADÈLE is rather long (3 hours) but not unnecessarily so as it evolves very naturally. Although explicit, the sex scenes are not gratuitous in light of the movie’s characters and subject matter. Some details are left unsaid but you won’t have any trouble ‟connecting the dots”.

Comments: the term ‟true-to-life” aptly describes this flawless production depicting a young woman’s identity crisis. Adèle will encounter ups and downs, moments of happiness and episodes of pain… but this is part and parcel of anyone’s quest for purpose, recounted here in a sincere and compelling way. LA VIE D’ADÈLE has been swamped with awards and nominations all over the world, especially at Cannes (best actresses and direction) and at the Césars. Deservedly so. 

 

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Dog Day Afternoon

Genre: crime drama

With: Al Pacino (Sonny Wortzik), John Cazale (Sal), Charles Durning (Det. Sgt. Eugene Moretti), Chris Sarandon (Leon Shermer), Sully Boyar (Mulvaney), Penelope Allen (Sylvia Benson), James Broderick (Sheldon), Carol Kane (Jenny), Beulah Garrick (Margaret), Sandra Kazan (Deborah), Marcia Jean Kurtz (Miriam), Gary Springer (Stevie), John Marriott (Howard Calvin), Susan Peretz (Angie)

Director: Sidney Lumet

Screenplay: Frank Pierson (from an article by P.F. Kluge and Thomas Moore and a book by Leslie Waller)

Release: 1975

Studio: Artists Entertainment Complex, Warner Bros. Pictures Distribution

Rating: R

MBiS score: 8.7/10 

 

If Everything Else Fails, Improvise   

 

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Story-line: Brooklyn, a sultry day in August, 1972. One after the other, Sal, Sonny and Stevie enter a bank just before closing time and their intentions become abundantly clear when Sal draws a machine gun in full view of the manager. Yes, this is a holdup… but not the kind you would normally expect.      

Pluses: one of Al Pacino’s strongest performances ever, great support from John Cazale, Charles Durning, James Broderick, a splendid cast and a feisty crowd, a dramatic and suspenseful screenplay that doubles as a dark comedy of errors with its clumsy robbers and malevolent cops, tight helming that keeps things tongue-in-cheek and stokes tension relentlessly, appropriate production values and a potent ending.

Minuses: the language used is frequently foul but certainly adds realism to the story.  

Comments: this extraordinary picture, which is based on an actual event, turns its premise into a poignant illustration of human misery as Sonny and his gang, far from being hardened criminals, are basically decent guys facing desperate prospects in life. DOG DAY AFTERNOON, another landmark work from the golden 70s in American cinema, may depict a lousy heist but stands as a perfect movie.

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 Naked City

Genre: crime drama (in black and white)

With: Barry Fitzgerald (Det. Lt. Daniel Muldoon), Howard Duff (Frank Niles), Dorothy Hart (Ruth Morrison), Don Taylor (James Halloran), Frank Conroy (Capt. Sam Donahue), House Jameson (Dr. Lawrence Stoneman), Anne Sargent (Janet Halloran), Ted de Corsia (Willy Garzah), Mark Hellinger (the narrator)

Director: Jules Dassin

Screenplay: Albert Maltz and Malvin Wald (from a story by Malvin Wald)

Release: 1948

Studio: Hellinger Productions, Universal International Pictures

Rating: -

MBiS score: 8.5/10

 

 ‟There are 8 million stories in the naked city.”

  

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Story-line: after sunset in New York City, most people relax, party on or work in the shadows for the benefit of others but a few use the cover of darkness to indulge in criminal behaviour. On this particular night, two men enter Jean Dexter’s apartment and murder the 26-year-old model for reasons unknown and perfectly horrible. Looks like another difficult case for Detective Lt. Muldoon and his colleagues at the NYPD...

Pluses: a strong cast led by a determined Barry Fitzgerald, a well-structured and meticulous screenplay full of twists, turns and briskly delivered dialogues, diligent and focused direction, sharp cinematography (William Daniels), convenient production values and an evocative musical score by Miklós Rózsa and Frank Skinner. 

Minuses: none I can think of.

Comments: from its voice-over intro to its stunning climax, NAKED CITY is what movie experts describe as a police procedural. It follows Muldoon and his team as they learn the facts and gather evidence, interrogate witnesses and sift through statements, alibis and lies in an effort to crack this stumper of a crime case. Although methodical to a fault, Jules Dassin's account of police work maintains interest throughout and does honour to a throbbing city we call the Big Apple. Quality time for movie buffs.   

 

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 China Syndrome (The)

Genre: disaster drama

With: Jane Fonda (Kimberly Wells), Jack Lemmon (Jack Godell), Michael Douglas (Richard Adams), Scott Brady (Herman De Young), James Hampton (Bill Gibson), Peter Donat (Don Jacovich), Wilford Brimley (Ted Spindler)

Director: James Bridges

Screenplay: Mike Gray, T.S. Cook and James Bridges

Release: 1979

Studio: Columbia Pictures Corporation, IPC Films, Major Studio Partners

Rating: PG

MBiS score: 8.5/10

 

 

What They Won’t Tell You  

 

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Story-line: while doing a remote at the Ventana nuclear power plant, a TV reporter who is considered mere filler by her colleagues observes an incident that may have compromised public safety and the plant’s operations.  

Pluses: marquee performances by Jane Fonda (a bright and assertive Kimberly), Jack Lemmon (the increasingly conflicted Godell) and Michael Douglas, excellent support from well-known thespians, a methodical screenplay that leads to a suspenseful final act, dynamic direction that develops bracing (almost painful) tension, convincing production values (the power plant sets especially) and fine cinematography.

Minuses: viewers beware… this chilling film is not for the fainthearted.

Comments: although nuclear energy is generally viewed as a safe source of electricity, the events depicted in THE CHINA SYNDROME are certainly possible − as evidenced by the Three Mile Island (1979), Chernobyl (1986) and Fukushima (2011) incidents. And you don’t need much to trigger a catastrophe; it only takes a miscalculation, neglect, greed or misguided loyalties (or any combination of those factors) to endanger whole communities. Remember our goal as movie buffs: we don’t seek to see everything out there… we focus on films that matter. THE CHINA SYNDROME, with its mighty drama, social import and star power, is clearly one of them.    

 

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 I Compagni

English title: The Organizer

Genre: social drama (in black and white)

With: Marcello Mastroianni (Professor Sinigaglia), Renato Salvatori (Raoul Bertone), Folco Lulli (Pautasso), Bernard Blier (Martinetti), Gabriella Giorgelli (Adele), Raffaella Carrà (Bianca), François Périer (Maestro Di Meo), Vittorio Sanipoli (Baudet), Mario Pisu (the Manager), Kenneth Kove (Luigi), Annie Girardot (Niobe), Elvira Tonelli (Cesarina), Franco Ciolli (Omero), Enzo Casini (Antonio), Antonio Casamonica (Arro)

Director: Mario Monicelli

Screenplay: Agenore Incrocci, Furio Scarpelli and Mario Monicelli  

Release: 1963

Studio: Lux Film, Vides Cinematografica et al.

Rating: -

MBiS score: 8.5/10 

 

The Struggle Never Ends 

 

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Story-line: the setting is Turin in the late 19^th century. Exasperated by their brutal working conditions, the men, women and children slaving in a local textile plant rise against their ruthless bosses with the help of a visiting teacher. 

Pluses: a strong cast of Italian and French thespians led by an intense Marcello Mastroianni, a realistic and detailed screenplay that studiously develops its characters, builds drama and delivers a symbolically potent ending, solid helming that sustains interest from the get-go, fine production values and a well-suited score of Italian folk music.

Minuses: none I can think of.

Comments: I COMPAGNI, a strong companion film to GERMINAL and NORMA RAE, rates as a high-quality ensemble drama and a compelling manifesto about labour relations, poverty and man's dependence on machines for industrial production (not much has changed… today it’s robots). Mario Monicelli’s film bears witness to a difficult era that paved the way for trade unionism worldwide. 

 

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 Rashômon

Genre: psychological drama (in black and white)

With: Toshirô Mifune (Tajômaru), Machiko Kyô (Masako Kanazawa), Masayuki Mori (Takehiro Kanazawa), Takashi Shimura (the Woodcutter), Minoru Chiaki (the Priest), Kichijirô Ueda (the Commoner), Noriko Honma (the Medium)

Director: Akira Kurosawa     

Screenplay: Akira Kurosawa and Shinobu Hashimoto (based on stories by Ryûnosuke Akutagawa)

Release: 1950

Studio: Daiei Eiga

Rating: -

MBiS score: 9.0/10 

 

Of Self-Interest and the Search for Truth 

 

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Story-line: as torrential rains fall from the sky, two men, a priest and a woodcutter, find shelter under the roof of a dilapidated rashômon. Still shaken by their appearance as witnesses in a murder trial, they struggle to understand what really happened in the forest three days before when a samurai and his wife met a notorious bandit named Tajômaru.  

Pluses: an evil performance by Toshirô Mifune and strong acting all around, a well-structured, hard-hitting and brilliant screenplay built on twisted character psychology, intelligent and moderately-paced direction, lively cinematography (Kazuo Miyagawa), fine production values, a varied musical score by Fumio Hayasaka and a powerful ending.

Minuses: none I can think of. Aside from a building, the word rashômon refers to a situation that lends itself to contradictory interpretations.

Comments: if you have never sampled Akira Kurosawa’s genius on screen – I admit I hadn’t before now – RASHÔMON will give you a mesmerizing introduction to this great filmmaker’s oeuvre. Like a stage play, it transcends its modest means to weave a potent story about confusion, desperation, self-interest and guilt… while managing to close its bleak demonstration with a ray of sunshine and a promise of redemption. Please note that one pivotal character – the judge – is never seen nor heard during the trial, as if Kurosawa was asking viewers to sort out the contradictions of the case and decide Tajômaru’s fate. A winner in Venice and a recipient of the Honorary Best Foreign Movie Oscar, this unsettling film is ranked among cinema’s masterpieces… and that’s the truth, the whole truth and nothing but the truth.  

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Suna no onna 

English title: Woman in the Dunes

Genre: psychological drama (in black and white)

With: Eiji Okada (Niki Jumpei), Kyôko Kishida (the ‟old hag”), Hiroko Itô (Niki's wife), Kôji Mitsui, Sen Yano

Director: Hiroshi Teshigahara

Screenplay: Kôbô Abe, based on his novel, with the help of Eiko Yoshida as scripter

Release: 1964

Studio: Toho Film (Eiga) Co. Ltd., Teshigahara Productions

Rating: -

MBiS score: 8.7/10

 

 

Clowns to the left of me

Jokers to the right

Here I am stuck in the middle with you*

 

 

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Story-line: when Niki, a teacher and entomologist, misses the bus back to Tokyo and finds himself stranded in a remote area, locals offer him shelter for the night. They lead him to a large hole at the bottom of which a house has been built – the one inhabited by the ‟old hag” – and help him down using a rope ladder. The next morning, the ladder has vanished and Niki realizes that no one wants him to leave that miserable hole.  

Pluses: fine acting by Eiji Okada and Kyôko Kishida as two afflicted souls struggling with and against each other, a symbolic, quiet yet potent screenplay that uses sand (!), silences and eroticism to good effect, Tôru Takemitsu's avant-garde musical score, Hiroshi Segawa's evocative cinematography, suitable production values.  

Minuses: if you have a choice between two versions of this film (123 and 147 minutes), pick the longer one because nothing in it feels superfluous or wasteful. The movie's ending, although surprising, is quite realistic in the grand scheme of things.

Comments: the understated, strange and atmospheric WOMAN IN THE DUNES is basically a horror movie without bloodshed. It pits human against human and man against woman in a tragic and unusual way, staking freedom and survival as the ultimate prize. As Hiroshi Teshigahara and crew have shown in this striking picture, it is a terrible ordeal to see your whole life suddenly threatened with futility. 

 

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*With a nod to Stealers Wheel (Joe Egan and Gerry Rafferty, writers)

 Charly

Also known as: Flowers for Algernon

Genre: medical and behavioural drama 

With: Cliff Robertson (Charly Gordon), Claire Bloom (Alice Kinnian), Lilia Skala (Dr. Anna Strauss), Leon Janney (Dr. Richard Nemur), Ruth White (Mrs. Apple), Dick Van Patten (Bert), Edward McNally (Gimpy), Barney Martin (Hank)

Director: Ralph Nelson

Screenplay: Stirling Silliphant (based on a novel by Daniel Keyes)

Release: 1968

Studio: ABC Pictures, Robertson and Associates, Selmur Productions

Rating: -

MBiS score: 8.2/10

 

Tender Soul Meets Hard Science 

 

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Story-line: Charly, a child-like man suffering from mental illness, serves as a study subject to Ms. Kinnian and researchers at the Nemur Strauss Clinic in Boston.  

Pluses: a powerhouse, Oscar-winning performance by Cliff Robertson in one of the most wide-ranging roles you can imagine, splendid support from Claire Bloom and cast, tight, tactful and innovative direction that makes efficient use of split screens and chilling dialogues to drive its story, measured production values, an arresting denouement and Ravi Shankar’s sometimes playful, sometimes sad but always apropos musical score.  

Minuses: if you choose to see CHARLY, be mindful that it plays like an emotional rollercoaster with its succession of heartbreaking, hopeful and exhilarating moments.

Comments: this very modest, beautiful and touching story about mental illness, humility and cherished dreams is as rewarding as any in Cinemaland. For a film entrenched in the specific mindset of the 1960s, it packs surprising relevance for today with its comments on the state of the world. Marvel at Cliff Robertson’s performance, alternately playing a child, a mental patient, a rebellious teenager, a mature man and a committed researcher. While Charly struggles to be a better person, he proves how priceless we all are as human beings. 

 

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 Slap Shot

Genre: sports comedy

With: Paul Newman (Reggie Dunlop), Michael Ontkean (Ned Braden), Strother Martin (McGrath), Jennifer Warren (Francine), Lindsay Crouse (Lily), Jerry Houser (Killer Carlson), Andrew Duncan (Jim Carr), Jeff Carlson, Steve Carlson and David Hanson (as Jeff, Steve and Jack Hanson respectively)

Director: George Roy Hill

Screenplay: Nancy Dowd

Release: 1977

Studio: Kings Road Entertainment, Pan Arts Productions, Universal Pictures

Rating: R

MBiS score: 8.0/10

 

Can't Kill Penalties? Try Killing the Ref

 

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Story-line: as player-coach of the minor-league Charlestown Chiefs, Reggie Dunlop struggles to mould a bunch of prospects, veterans and confirmed losers into a semblance of a hockey team.

Pluses: an unforgettable turn by Paul Newman in a semi-comic role, solid support from Michael Ontkean and a mixed bag of crazies, a frank, truthful and hilarious screenplay by Nancy Dowd, astute direction by George Roy Hill (one roughhouse sequence featuring the Hanson brothers is pure donnybrook) and modest production values in keeping with the subject.

Minuses: there's lots of profanity (mostly in French), indecency, mock violence and general vulgarity but it all comes out as good clean dirty fun.  

Comments: at a time when brawling and disgraceful play were rampant in pro hockey (although it’s still the case today in a number of ways), SLAP SHOT chose to lampoon the senselessness of it all and remains, 44 years after the fact, one of the funniest sports movies ever because of its endearing unpretentiousness. For the sake of your living room, don’t drink beer or eat popcorn while watching this one. 

  

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Anatomy of a Murder

Genre: courtroom drama (in black and white)

With: James Stewart (Paul Biegler), Ben Gazzara (Lt. Frederick Manion), Lee Remick (Laura, Frederick’s wife), Arthur O’Connell (Parnell Emmett McCarthy), Brooks West (Mitch Lodwick, the D.A.), George C. Scott (Claude Dancer), Eve Arden (Maida Rutledge), Murray Hamilton (Alphonse Paquette), Joseph N. Welch (Judge Weaver), Kathryn Grant (Mary Pilant)

Director: Otto Preminger

Screenplay: Wendell Mayes (based on John D. Voelker’s novel)

Release: 1959

Studio: Carlyle Productions (Otto Preminger Films)

Rating: PA

MBiS score: 8.6/10 

 

See You in Court! 

 

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Story-line: a Michigan lawyer easing his way into retirement is asked to defend an Army officer accused of murder. For Paul Biegler, the veteran barrister, representing Frederick Manion would be quite a challenge since he has never worked for the defence and Manion has clearly caused the death of Barney Quill, a local bar operator.

Pluses: a tremendous turn by James Stewart (notice his voice, his delivery, his looks) and fine support from an awesome cast, a very detailed and wily screenplay filled with suspicious characters, flavourful dialogues and quirky moments, splendid direction and cinematography, credible production values and a swinging musical score by Duke Ellington (who also graces the screen with a cameo).

Minuses: the movie is rather long (2 hours, 40 minutes) but uses every second to develop a complex, intelligent and captivating story. 

Comments: ANATOMY OF A MURDER has a lot to please movie buffs, from admirable performances by older and younger actors to a courtroom duel as intense, messy and disgraceful as you will ever see in cinema. With all its drama, nasty dealings, legal sparring and acrimony, Otto Preminger’s film is everything life shouldn’t be… and everything a great movie should. 

 

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Vérité (la)

English title: The Truth

Genre: judicial drama (in black and white)

With: Brigitte Bardot (Dominique Marceau), Paul Meurisse (Éparvier, the prosecutor), Charles Vanel (Guérin, Dominique’s lawyer), Sami Frey (Gilbert Tellier), Marie-José Nat (Annie, Dominique’s sister), Jean-Loup Reynold (Michel), André Oumansky (Ludovic, from the Spoutnik), Claude Berri (Georges), Jacques Perrin (Jérôme Lamy), Barbara Sommers (Daisy), Louis Seigner (the presiding judge), René Blancard (the general counsel)

Director: Henri-Georges Clouzot

Screenplay: Henri-Georges Clouzot, Simone Drieu, Michèle Perrein, Jérôme Géronimi, Christiane Rochefort and Véra Clouzot

Release: 1960

Studio: Han Productions et al.

Rating: -

MBiS score: 8.3/10

  

One Is Prim, The Other Is Liberated… and I Love ’em Both

  

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Story-line: when a nun comes over to unlock her prison cell, Dominique Marceau is in no hurry to get out of bed. Her day will be excruciatingly painful. Appearing before judges, barristers and a crowd of strangers, she will be formally tried for the murder of a man she loved.  

Pluses: a remarkable performance by Brigitte Bardot in an unflattering role, strong support from Sami Frey, Paul Meurisse, Charles Vanel and a credible cast, a   straightforward and flawless screenplay that uses flashbacks, dialogues and contradictions to devastating effect and develops tension in a treacherous way, satisfying production values and, of course, efficient direction by a master filmmaker.  

Minuses: none really.

Comments: according to my old Canadian Oxford Dictionary, the word ordeal refers historically to ‟an ancient esp. Germanic test of guilt or innocence by subjection of the accused to severe pain or torture, survival of which was taken as divine proof of innocence”. On a psychological level, Dominique’s treatment by the judicial system in this tragic case may also be considered an ordeal. Barristers trying to top each other in outrage and innuendo, witnesses jousting with the accused, judges intervening, a scavenger press… this kind of process – which faithfully reflects the justice system of the period in France – is much freer and more damaging than what we’re used to in Canada. Not only that, it yields gut-wrenching results in this complicated case of a woman searching cluelessly for a better life. Cynical, implacable but interesting throughout, LA VÉRITÉ stands as another great work by Henri-Georges Clouzot.

 

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Grande illusion (La)

English title: Grand Illusion

Genre: war movie (in black and white)

With: Jean Gabin (Lt. Maréchal), Pierre Fresnay (Capt. de Boeldieu), Erich von Stroheim (Capt. von Rauffenstein), Marcel Dalio (Lt. Rosenthal), Julien Carette (Cartier), Georges Péclet (the Locksmith), Werner Florian (Sgt. Arthur), Jean Dasté (the Teacher), Sylvain Itkine (Lt. Demolder), Gaston Modot (the Engineer), Dita Parlo (Elsa), Jacques Becker (the English officer)  

Director: Jean Renoir

Screenplay: Charles Spaak and Jean Renoir

Release: 1937

Studio: Réalisation d’art cinématographique

Rating: -

MBiS score: 8.9/10 

 

An Old World Blown Away, Never To Return 

 

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Story-line: France in the early stages of WW I. Maréchal, a working-class officer in the French Army, and Capt. de Boeldieu, an aristocrat, are shot down during a reconnaissance mission. Captured by the Germans, they are taken to Capt. von Rauffenstein, himself an aristocrat, who intends to treat them according to the conventions of war. Thus begins, for our two Frenchmen, a frustrating but eventful new life as POWs in Germany.  

Pluses: a credible cast led by Jean Gabin and Pierre Fresnay – as two very contrasting characters – with fine support from Marcel Dalio, Erich von Stroheim and a brilliant Julien Carette, a tight, thoughtful and detailed screenplay that uses carefully tailored dialogues and soupçons of witty humour to develop its subject, focused direction that maintains a steady pace, irreproachable camera work, modest but well-suited production values, an appropriate musical score and a surprising ending.

Minuses: none I can think of… Jean Renoir’s work is a masterpiece.

Comments: at a time when war was supposed to be a gentlemanly pursuit, World War I – and its unimaginable carnage – shattered old models and brought forth a much darker side of humanity. Such is the focus of LA GRANDE ILLUSION, a classic tale of resilience, uneasy alliances and defiance toward the enemy that doubled as a prescient warning of a second world conflict ahead. No need to comment on the illusion itself… its irony will hit you like a ton of bricks.   

 

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 Fog of War (The)

Also known as: The Fog of War: Eleven Lessons from the Life of Robert S. McNamara

Genre: political documentary

With: Robert McNamara, Errol Morris (the Interviewer); archival footage of Fidel Castro, Barry Goldwater, Lyndon Johnson, John F. Kennedy, Nikita Khrushchev, Richard Nixon and others

Director: Errol Morris

Release: 2003

Studio: Sony Pictures Classics, RadicalMedia, SenArt Films, The Globe Department Store

Rating: PG-13

MBiS score: 8.4/10

 

 

‟Never answer the question asked. Answer the question you wish that had been asked.”

 

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Story-line: in this chilling documentary, Robert S. McNamara, who acted as Secretary of Defense under Presidents Kennedy and Johnson, talks about his personal and professional life and the lessons he has learned about war and global diplomacy while working with hawks, doves and other species of political birds.  

Pluses: McNamara’s direct and interesting take on our world past and present, strong and studious direction by Errol Morris, a thorough and well-constructed screenplay that uses impactful historical footage, telephone recordings and filler scenes to complement its talking-head format, very astute editing, modest but convenient production values and a superb musical accompaniment by Philip Glass.

Minuses: some viewers may be disturbed by the seriousness of the issues discussed and a couple of odd revelations (skull-breaking experiments?).

Comments: although it follows the usual recipe for documentaries, the Oscar-winning FOG OF WAR never feels static because of its relevance and Robert McNamara’s status as a consummate political insider. Aided by hindsight, he comes out of the exercise as a skilled and forthcoming fellow even when the questions raised are delicate and mistakes need to be acknowledged. At a time when some observers argue that we have entered a new Cold War, his take on the dynamics of diplomacy gives us a clear picture of what our world has become… intimidating, volatile and even scary.

 

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Il buono, il brutto, il cattivo

English title: The Good, the Bad and the Ugly

Genre: western movie

With: Eli Wallach (Tuco the Ugly), Clint Eastwood (Blondie the Good), Lee Van Cleef (Angel Eyes the Bad), Aldo Giuffrè (the alcoholic Union Captain), Luigi Pistilli (Father Pablo Ramirez), Rada Rassimov (Maria)

Director: Sergio Leone

Screenplay: Agenore Incrocci, Furio Scarpelli, Luciano Vincenzoni and Sergio Leone (from a story by Luciano Vincenzoni and Sergio Leone)

Release: 1966

Studio: Produzioni Europee Associati, Arturo González Producciones Cinematográficas et al.

Rating: R

MBiS score: 8.7/10 

 

Riding High for Filthy Lucre 

 

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Story-line: Texas, 1862. While the American Civil War rages on elsewhere in the state, Tuco the meanie survives a showdown with gunslingers in a dusty town. Not far away, another toughie, Angel Eyes, visits Stevens the rancher to inquire about a lost cash box and a missing man named Jackson. As for Blondie, our third protagonist, he shows up when Tuco falls into another trap laid by bounty hunters. As you can plainly see, these guys know how to keep busy!

Pluses: formidable acting from a legendary trio backed by a fine Italian cast, great direction and editing, a distinctive musical score known the world over (by Ennio Morricone), superb camera work and photography (in outdoor scenes especially), an intelligent and unpredictable screenplay built on vivid dialogues, occasional humour and strong suspense, striking settings and sensible production values.

Minuses: as admirable as this movie is, it does contain a couple of unlikely twists (SPOILERS AHEAD!): (1) a dynamite-planting scene is played out far more casually than it should, considering the proximity of enemy fire, and (2) where did Blondie get that horse and rifle in the final scene?

Comments: in the late 1960s, Sergio Leone raised many doubts this side of the Atlantic when he took on a quintessentially American genre – the cowboy movie – but his “spaghetti westerns” were and still are a genuine phenomenon, an astonishing collection of energetic horse operas. This fabulous film has spawned unforgettable roles for Lee Van Cleef (his smirky ways and thin-rimmed hat), Clint Eastwood (with his poncho, cigarillos and fascinating aura) and Eli Wallach (as the short and foul-mouthed pistolero). Though a good notch below ONCE UPON A TIME IN THE WEST, which boasts a richer, wider-ranging screenplay, THE GOOD, THE BAD AND THE UGLY will bowl you over with its spectacular tale of sometimes heartless and sometimes noble roughnecks.   

 

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 Three Burials

Original title: The Three Burials of Melquiades Estrada

Genre: personal adventure drama

With: Tommy Lee Jones (Pete Perkins), Julio Cesar Cedillo (Melquiades Estrada), Melissa Leo (Rachel), Dwight Yoakam (Sheriff Frank Belmont), January Jones (Lou Ann Norton), Barry Pepper (Mike Norton), Vanessa Bauche (Mariana the healer), Levon Helm (the Old Man with the radio)

Director: Tommy Lee Jones

Screenplay: Guillermo Arriaga

Release: 2005

Studio: EuropaCorp, Javelina Film Company

Rating: R

MBiS score: 8.0/10

 

The Title Says Plenty But There’s Quite a Story Behind It  

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Story-line: when the body of Melquiades Estrada, an illegal immigrant, is found by hunters in the south of Texas, his employer, Pete Perkins, asks for his remains so he can take them back to Mexico. His request is denied but he chooses to press on.  

Pluses: an evenly good cast spearheaded by Tommy Lee Jones, a mysterious, graphic and well-constructed screenplay that uses flashbacks and flashforwards to tell its unusual story in a logical and interesting way, irreproachable direction, fine cinematography (especially in barren areas of the Lone Star State), adequate production values and a genuinely surprising ending.

Minuses: although welcome in such a bleak drama, the screenplay’s humorous moments tend to be macabre. 

Comments: THREE BURIALS is a modest and efficient film that plays on themes of moral duty, remorse, humility and brotherhood. It has no place for heroes – only for common folk who struggle with life, cut corners and sometimes do bad things – and doesn’t try to do more than the essential, a wise choice considering its serious subject matter. Whatever your tastes in cinema, you will find value in this offbeat and sincere contemporary western.   

  

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 Rebelle

English title: War Witch

Genre: humanitarian drama

With: Rachel Mwanza (Komona), Alain Lino Mic Eli Bastien (the Rebel Commander), Serge Kanyinda (the Magician), Mizinga Mwinga (the Grand Tigre Royal), Ralph Prosper (the Butcher), Jean Kabuya (the School camp coach)

Director: Kim Nguyen

Screenplay: Kim Nguyen

Release: 2012

Studio: Item 7, Shen Studio

Rating: 14A

MBiS score: 8.4/10 

 

Sacrificed on the Altar of War    

 

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Story-line: somewhere in Equatorial Africa, a young woman named Komona speaks to the fetus in her womb: "One day, you will have to come out of my belly and I have to tell you how your mother became a soldier." Haunted by her appalling past, she prays God for the strength to love this child she had never planned on having.

Pluses: flawless acting by Rachel Mwanza and a convincing cast, a frank and logical screenplay that explores a tragic issue seldom discussed in the Western world, excellent direction that meets the technical challenges of location filming, beautiful cinematography (Nicolas Bolduc) and natural settings, professional production values.

Minuses: although some scenes are quite violent, they are essential to show the atrocious fate of child soldiers.

Comments: from the day she is orphaned and abducted at the tender age of 12 to the time of her pregnancy, Komona's life is a succession of horror stories that REBELLE documents unflinchingly but with the sympathy this woman truly deserves. What Québécois director Kim Nguyen has fashioned here is a very different, jarring and impressive film that weaves an extraordinary story and bears witness to human resilience in the face of brutality. This is what I call worthy, valuable cinema. 

 

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 Close Encounters of the Third Kind

Genre: science fiction film

With: Richard Dreyfuss (Roy Neary), François Truffaut (Claude Lacombe), Teri Garr (Ronnie, Roy’s wife), Melinda Dillon (Jillian Guiler), Cary Guffey (Barry, Jillian’s son), Bob Balaban (David Laughlin, the cartographer), J. Patrick McNamara (the project leader)

Director: Steven Spielberg

Screenplay: Steven Spielberg (with help from Hal Barwood, Jerry Belson, John Hill and Matthew Robbins)

Release: 1977

Studio: Julia Phillips and Michael Phillips Productions, EMI Films

Rating: PG

MBiS score: 8.6/10

 

If There Are Intelligent Beings in the Cosmos, Why Would They Bother with Us Humans?

 

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Story-line: while a French scientist and a group of Americans rush to the Mexican desert to investigate the discovery of training planes lost for decades but still in working order, airline pilots in Indiana report sightings of luminous crafts flying at close range. Also in Indiana, several people witness strange, inexplicable phenomenons.

Pluses: superb acting by Richard Dreyfuss (one of Hollywood’s best in manic, hyperactive roles), François Truffaut (always a treat as an actor) and a disciplined cast, an effective and solidly written screenplay that sustains the mystery throughout and stokes an eerie, unsettling atmosphere, outstanding photography, a celebrated score by John Williams, remarkable special effects and top-grade production values.

Minuses: although the film is international in scope, insistent and annoying product placement gives it a strong (even excessive) American flavour.    

Comments: personally, I was irritated by Steven Spielberg’s constant (and rather manipulative) efforts to whip up a frenzied, hysterical mood around his story – a fault which should have warranted a lower score – but CLOSE ENCOUNTERS OF THE THIRD KIND is truly redeemed by its technical merit and extraordinary ending. By defying conventional wisdom in the sci-fi genre, Spielberg provides a life-altering experience to his characters and otherworldly entertainment for movie buffs. Accept all of it – as little Barry has done – with a child’s openness and trust.   

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