Glass Menagerie (The)

Genre: family drama
With: Joanne Woodward, Karen Allen, John Malkovich
Director: Paul Newman
Release: 1987
Studio: Columbia TriStar Motion Picture Group, Aspetuck Productions Ltd – Cineplex Odeon Films, Sony Pictures Releasing International (SPRI)
Rating: PG
MBiS score: 8.4/10


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Story-line: in St. Louis, during the Depression, the tenuous relationship between an overbearing mother (Amanda), her restless son bent on adventure (Tom) and her hapless and slightly handicapped daughter (Laura) reaches a breaking point.
Pluses: splendid acting, a moving story by Tennessee Williams, respectful direction by Paul Newman.
Minuses: none whatsoever.
Comments: though fundamentally a stage play, THE GLASS MENAGERIE works admirably on the big screen and stands as a fine character study. Don’t miss this heartbreaking film, if only to meet Laura and learn of her real predicament: ‘Mother's afraid I'm going to be an old maid.’


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Reader (The)

Genre: psychological drama
Director: Stephen Daldry
Release: 2008
Studio: The Weinstein Company, Mirage Enterprises, Neunte Babelsberg Film GmbH – Miramax Films, The Weinstein Company
Rating: R
MBiS score: 8.3/10


The Sting of a First Love Too Powerful and Guilty


Berlin, 1958. As Hanna Schmitz (Kate Winslet) was washing the sidewalk in front of her building, she noticed a sick lad hovering about and urged him to come up to her apartment for immediate care. While they were together, the boy, one Michael Berg (David Kross), could plainly see that Hanna was not as privileged as he was and their 20-year age difference was clearly understood but the encounter, as brief as it was, left an impression that would prove impossible to quell. With Ralph Fiennes (Michael Berg as an adult), Karoline Herfurth (Marthe), Hannah Herzsprung (Julia), Bruno Ganz (Professor Rohl) and Lena Olin. Music by Nico Muhly.

From what I have told you thus far, THE READER may seem like a standard ‘young man meets mature woman’ love story born of mushy feelings and headed for predictable ruin but, in truth, it encompasses much more. Michael and Hanna’s rocky relationship will conjoin past, present and future as well as conscience, class and culture in ways they would never have suspected when they first set eyes on each other. At the very least, you should know that their chance meeting will open up large-scale issues in addition to personal ones and, in this regard, Stephen Daldry’s film can be likened to CACHÉ, another feature about private matters inescapably linked to the big picture of life.

Since THE READER tells its story from a literary angle and begins with a flash forward to 1995, it needs time to unfold, establish its main characters and shake off an obvious, all-too-perfect premise. Nevertheless, it quietly draws you in from the outset – like the first pages of a book usually hint at greater things to come – until it reaches that pivotal moment when Michael and Hanna each face moral issues as painful as they are intractable. All of this is handled expertly by director Daldry and writer David Hare, working from a novel by Bernhard Schlink. Acting-wise, Kate Winslet serves up a restrained and reasoned performance as Hanna, a moody and impatient woman to whom life offers little consolation aside from a young lover, while David Kross plays a bright, slightly rebellious Michael. Notice how these two characters, though different in personality and background, will react similarly to the tragedy that befalls them. Ralph Fiennes, as the older, colder Michael, shows his usual talent but spends much less time on screen than movie posters and studio publicity may indicate. The other actors on board, especially Bruno Ganz and Lena Olin, are also above reproach. I see no reason to complain about production values, cinematography or editing; visuals, in particular, are crisp and aesthetic.

Since books are so important to Michael, there is one scene in THE READER that I found very revealing and I hope it will strike you as well. It’s the one where a teacher theorizes that ‘The notion of secrecy is central to western literature’. With due respect, I can’t say that I agree entirely with him but THE READER certainly proves his point with eloquence and surprising emotional force. May you profit from this lesson in life and culture as much as I did.


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Hussard sur le toit (Le)

English title: Horseman on the Roof (The)
Genre: period epic
With: Olivier Martinez, Juliette Binoche, Jean Yanne
Director: Jean-Paul Rappeneau
Release: 1995
Studio: Hachette Première – Miramax Zoe
Rating: R
MBiS score: 8.1/10


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Story-line: in 1832, an Italian colonel exiled in southern France tries to return home despite enemy agents, a cholera epidemic and a lady in distress.
Pluses: a well-founded story based on a Jean Giono novel, fine period detail, quality acting and Juliette Binoche’s undeniable star power.
Minuses: none, except one gruesome scene involving a corpse.
Comments: if you ache for drama, adventure and romance (yes, that too!), LE HUSSARD SUR LE TOIT will cure what ails you. Let it take you to another time, another place, another world altogether.


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© 2010 – All rights reserved

Changeling (The)

Genre: personal drama
Director: Clint Eastwood
Release: 2008
Studio: Imagine Entertainment, Malpaso Productions, Relativity Media – Universal Pictures
Rating: R
MBiS score: 8.0/10


A Mother Should Know


Lincoln Heights (Los Angeles), 1928. Although she had promised to take her ten-year-old son Walter (Gattlin Griffith) to the movies, Christine Collins (Angelina Jolie) simply couldn’t refuse an extra work shift at Pacific Telephone and Telegraph. It was one of those split-second choices a single mom must make between career and family but, at least, Christine had figured she’d be home early enough to take Walter to the movie house. Unfortunately, fate decided otherwise and, when Christine returned from work, her son was nowhere to be found. This mother’s ordeal had only begun. With John Malkovich (Gustav Briegleb), Jeffrey Donovan (J.J. Jones), Amy Ryan (Carol Dexter), Frank Wood (Ben Harris), Colm Feore (James E. Davis), Reed Birney (Mayor Cryer), Geoffrey Pierson (S.S. Hahn), Michael Kelly (Ybarra), Denis O'Hare (Dr. Steele), Jason Butler Harner (Gordon Northcott), Peter Gerety (Tarr) and Ric Sarabia (Man at Diner).

In its first few sequences, THE CHANGELING telegraphs one of its essential themes – during a conversation between Christine and her son – but also tries to mislead by showing happy-go-lucky images that belie the horrors yet to come. Judging by those sequences only, you could easily infer that single parents are a very happy lot. One scene, in particular, epitomizes this ham-fisted and unrealistic set-up, the one where Christine enters her son’s room to wake him up for breakfast. The moment feels idyllic and, instead of trudging in (or darting in) like any busy mom would do, Angelina Jolie prances about, her clothes billowing as if she was modeling the latest Dior on a Paris runway. Right then, I wondered if THE CHANGELING would pain me as much as MILLION DOLLAR BABY did but, luckily for me and happily for Clint Eastwood, it didn’t. It slowly gained momentum after that and, once Christine gets caught in a political tug-of-war that may very well destroy her, I was hooked and ready to go. At the finish, THE CHANGELING stands as a changed movie, a suspenseful and punishing film that will remind you of CHINATOWN not only for its locale and spare trumpet melodies (composed by Eastwood himself) but also for its atmosphere of degradation and corruption in a city reputed to be an earthly paradise.

The same comments hold true for the acting, which looks better and better as the movie develops. In all fairness, Angelina Jolie deserves praise for her performance despite my earlier criticism; one should not call her to account for decisions made by others. As Christine, a character not unlike Mariane Pearl in A MIGHTY HEART, Ms. Jolie shows strength as well as vulnerability... and don't doubt my word for it. The other cast members, portraying a splendid assortment of goodies and baddies, play with much the same conviction, especially Jeffrey Donovan, Amy Ryan and John Malkovich. The difficulty here is not finding well-played characters but identifying those who can be trusted; none of them seems evil at first glance but some will commit truly odious acts in the name of malice or power.

Visually, THE CHANGELING is an attractive film even though some of its locations are grim indeed. Production values and period detail are top-line; I won’t easily forget the film’s Roaring 20s feel, its art deco sets, Walter’s radio and those roaming supervisors. Clint Eastwood’s direction is mostly solid and especially effective in the movie’s riveting last half-hour. As for J. Michael Straczynski’s screenplay, which is based on real events, it holds up nicely despite a couple of soft spots; for one thing, I thought Christine was vague – maybe even flippant – when she explained why her husband had left her and, for another, I would have liked to know what happened to the Rileys, two potential witnesses who were mentioned early on and then forgotten entirely.

At this point, you can guess where I’m going and I’ll make it even clearer: I have no choice but to recommend THE CHANGELING due to its incredible resilience. As if oblivious of its early failings, it simply chugs along until Christine Collins, real and imagined, takes over formidably and refuses to back off. In the end, Eastwood’s film dedicated to this remarkable woman will reward you with a potent and haunting climax that no one could dismiss. More importantly, it will remind you that abuse of power and human frailty are nothing new – particularly in Los Angeles – and that suspicion is more advisable than blind acceptance. Beware of illusions… such is the vital message behind THE CHANGELING. Incidentally and metaphorically speaking, the same could be said of those palm trees that speckle the LA skyline in the film’s outdoor shots. I have read somewhere – and I have not forgotten since – that these trees are not indigenous to Southern California. They were introduced there long ago and have thrived ever since… like a natural mirage for all of Tinseltown’s inhabitants. Christine Collins was also presented with a mirage. Beware, my friends, beware.


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Odd Couple (The)

Genre: comedy
With: Jack Lemmon, Walter Matthau, John Fiedler
Director: Gene Saks
Release: 1967
Studio: Paramount Pictures
Rating: G
MBiS score: 8.0/10


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Story-line: when marital problems leave Felix Ungar homeless, his good friend Oscar Madison invites him to stay at his place. But can Felix and Oscar be roomies as well as buddies?
Pluses: superb acting, Neil Simon’s fine screenplay, a typical mid-60s feel, Neal Hefti’s catchy musical theme.
Minuses: none whatsoever.
Comments: Lemmon and Matthau may have been cast as an odd couple in this funny movie but they were above all a formidable pair of thespians. Linguine aside, you will enjoy this pleasant, unassuming film!


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© 2010 – All rights reserved

Man Who Wasn't There (The)

Genre: psychological drama
Director: Joel Coen
Release: 2001
Studio: Working Title Films, USA Films, Mike Zoss Productions – October Films, USA Films
Rating: R
MBiS score: 8.1/10


For Once, It’s The Barber Who Gets The Itch


The time is 1949 and the place, Santa Rosa, California. Ed Crane (Billy Bob Thornton), a barber by trade and a taciturn by nature, lives quietly with his wife Doris (Frances McDormand), an accountant for Big Dave Brewster (James Gandolfini) at Nirdlinger’s department store. On the surface, you could argue that life is sweet for the Cranes but, true to the old saying about still waters running deep, Ed’s juices will begin stirring when businessman Creighton Tolliver (Jon Polito) comes to town. Tolliver is looking for a partner and Ed soon gets the urge to join him. Unfortunately, there’s a drawback in Tolliver’s proposal: to play the capitalism game with him, you gotta have capital. With Michael Badalucco (Frank Raffo), Tony Shalhoub (Freddie Riedenschneider), Katherine Borowitz (Ann Nirdlinger) and Scarlett Johansson (Rachel ‘Birdy’ Abundas). Screenplay by Ethan and Joel Coen.

As filmmakers go, the Coen brothers are neither revolutionaries nor iconoclasts but, in my mind, they are certainly off-kilter. Their films don’t quite fit into the industry mould and their original storytelling keeps you guessing from beginning to end. In the comedy genre, they have shown brilliance in RAISING ARIZONA and THE BIG LEBOWSKI, two favourites of mine. In a dramatic vein, they can also deliver startling films like NO COUNTRY FOR OLD MEN. Here, heavy-duty irony is the brothers’ modus operandi and, though they have sprinkled Ed’s tortuous – and torturous – journey through life with touches of humour, THE MAN WHO WASN’T THERE is a predominantly solemn film that feels oppressive, even claustrophobic.

To act out their dark screenplay, the Coens relied on a solid cast that delivers handsomely, with Billy Bob Thornton as the mainstay, I believe. The brothers have also chosen to use black and white film for the production, a process that enhances the noirish elements of Ed’s not so excellent adventure. The resulting movie feels lean, sober, unadorned, like those simple songs that have withstood the test of time and become our cherished classics.

For now, there is little else to say about THE MAN WHO WASN’T THERE except to recommend it without reservations. As Ed himself would put it, ‘Me, I don't talk much... I just cut the hair.’


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© 2010 – All rights reserved

American Graffiti

Genre: teen drama
With: Ron Howard, Richard Dreyfuss, Paul Le Mat
Director: George Lucas
Release: 1973
Studio: Lucasfilm, Ltd., Coppola Co., Universal Pictures – Universal Pictures
Rating: PG
MBiS score: 8.4/10


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Story-line: one late summer night in 1962, a group of young Californians try to ward off boredom and their fears about the future by cruising around town in search of action.
Pluses: a great screenplay, well-drawn and amiable characters, a solid cast, Suzanne Somers’ mysterious presence and a seminal soundtrack.
Minuses: none.
Comments: AMERICAN GRAFFITI, hailed as a triumph for George Lucas, remains one of the best teen movies ever made. Don’t miss this atmospheric and utterly enjoyable ode to youth, simpler times and rock’n’roll. Pure movie magic!


MBiS

© 2010 – All rights reserved

Serpico

Genre: police drama
Director: Sidney Lumet
Release: 1974
Studio: Artists Entertainment Complex, De Laurentiis International Manufacturing Company SpA – Paramount Pictures
Rating: R
MBiS score: 8.6/10


The Hand That Wouldn’t Wash The Other


When Frank ‘Paco’ Serpico (Al Pacino), one of New York City’s finest, is rushed to the hospital after a police raid that went amiss, the news travels fast and worries many. ‘Do you think he was shot by another cop?’, asks one officer at the precinct. ‘I know six who’d love to’, answers another. But how can one cop cause such resentment among his colleagues? To find out, see Sidney Lumet’s SERPICO. With John Randolph (Sidney Green), Jack Kehoe (Tom Keough), Biff McGuire (Captain McClain), Barbara Eda-Young (Laurie), Cornelia Sharpe (Leslie Land), Tony Roberts (Bob Blair), Allan Rich (D.A. Tauber), Norman Ornellas (Don Rubello), Ed Grover (Detective Lombardo), Gene Gross (Captain Tolkin), James Tolkin (Lieutenant Steiger), Lewis J. Stadlen (Jerry Berman), John Lehne (Gilbert) and M. Emmet Walsh (Gallagher). Screenplay by Waldo Salt and Norman Wexler.

When I chose to watch SERPICO, I expected it to be a bitter pill to swallow but, in its early stages, it uses drama and humour equally effectively to depict Frank’s rookie days at the NYPD and his life as a young adult settling down on his own, meeting people and kicking up his heels. At one point – when he is assigned to the Bureau of Criminal Identification – I even wondered how this sprightly young man would become the most hated cop in the force but, sure enough, his story will take a sharp turn after his promotion to detective work and, right then and there, SERPICO morphs into a nightmarish but wholly necessary movie experience. Though less exciting than THE FRENCH CONNECTION, another film on brutal law enforcement in the Big Apple, it is more harrowing and surely more important as a social statement about police work and systemic corruption.

Although it required a sizable and competent cast, SERPICO revolves around one character and one dominant actor. As Frank, Al Pacino makes you forget how small a man he really is by projecting a huge aura that overshadows everything and everybody else. He exhibits great range and natural talent as a funny and intelligent guy whose ideas will clash mightily with those of his more conservative colleagues and who will suffer greatly because of it. Tony Roberts also shines in a minor role but, again, it’s Pacino’s bravura performance that you’ll remember most of all.

The movie’s screenplay, based on real events and a book by Peter Maas, is both complex and varied, its dramatic flow interrupted by odd occurrences and colourful dialogues that leave no room for daintiness (‘You already have one foot in the shit. Put the other one in.’). Sidney Lumet’s tight direction keeps things moving along at a brisk pace while gritty cinematography by Arthur J. Ornitz and a solid musical score by Mikis Theodorakis capture the beauty and ugliness of life in Gotham. Try as I may, I can’t find any flaws in this production.

Still not convinced? Then allow me one final pitch… my three reasons to recommend SERPICO. (1) This film weaves a powerful tale about a police force turned upside down and the whistle-blower extraordinaire who tried to right it. (2) It remains an eloquent testament to the greatness of American cinema in the 70s. (3) It features Al Pacino in one of the hottest acting streaks you could ever imagine. Think about it: from 1972 to 1975, this superb thespian starred in THE GODFATHER, SCARECROW, SERPICO, THE GODFATHER II and DOG DAY AFTERNOON. A genuine tour de force, don’t you agree?


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© 2010 – All rights reserved

American Gigolo

Genre: psychological drama
With: Richard Gere, Lauren Hutton, Hector Elizondo
Director: Paul Schrader
Release: 1980
Studio: Pierre Associates, Paramount Pictures – Paramount Pictures
Rating: R
MBiS score: 7.9/10


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Story-line: handsome Julian Kay, a fixture of L.A.’s elegant set, caters to mature women as a tourist guide and gigolo. For sure, his job comes with perks aplenty, but personal safety is not one of them.
Pluses: good acting, Paul Schrader’s screenplay and direction.
Minuses: none really.
Comments: don’t be misled by AMERICAN GIGOLO’s title: it’s neither filthy nor exploitative. In fact, it’s a serious and very watchable movie. One of many milestones in Richard Gere’s career.


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© 2010 – All rights reserved

Wrestler (The)

Genre: psychological drama
Director: Darren Aronofsky
Release: 2008
Studio: Protozoa Pictures, Saturn Films, Wild Bunch – Fox Searchlight Pictures
Rating: R
MBiS score: 8.0/10


Of Hammerlocks and Has-Beens


Randy ‘The Ram’ Robinson (Mickey Rourke) sure looks bushed sitting in the locker room, his muscular body bent over and aching like that of an old man. He gave it his all in the ring that night but the wrestling card was thinly attended and his pay will hardly be worth the effort. Such is the fate of a former great athlete but Randy doesn’t mind… he still loves the sport. Rock on, brother! With Marisa Tomei (Cassidy), Evan Rachel Wood (Stephanie), Judah Friedlander (Scott Brumberg), Ajay Naidu (the medic), Wass Stevens (Nick Volpe) and Todd Barry (Wayne).

When you think about it, wrestling is a very peculiar line of work. You train hard most days and work most nights, travel incessantly, cope with injuries, abuse and humiliation, deal with risks of all kinds and put up with aggressive fans who take the sport much too seriously for their own good. Though it grants you the rarest of fringe benefits – a chance to smack your co-workers day in, day out – it comes with a downside that gets steeper and steeper as age creeps up on you and younger athletes rise in the ranks. Not that glamorous a life, eh?

Such is Randy Robinson’s predicament at the beginning of THE WRESTLER. His mind is still on fighting, his body increasingly resists it but, altogether, he is not yet ready to retire. Thus he finds himself in limbo, a weekend warrior clinging to past glory and unprepared for the big changes just around the corner. The first half-hour of THE WRESTLER depicts this side of Randy, his professional side, and you may find it boring if you’re not particularly attracted to combat sports. To its credit, this segment offers candid insights into today’s wrestling world, its quirks, tricks and outrageous use of clichés, its twisted humour and the sincere camaraderie shared by its practitioners. Later on, the film addresses Randy’s personal life which is undoubtedly more interesting. You’ll get to know the man behind the mauler and, though Randy is certainly coarse, he’s also a nice enough guy who leads a grim existence. Other than meeting a club dancer he’s particularly fond of, he is saddled with serious financial and personal problems that I should leave unexplained for now.

All of this is developed with outright competence by Darren Aronofsky and crew. THE WRESTLER boasts a fine cast led by Oscar-nominated Mickey Rourke who appears both endearing and intimidating as Randy. In the ring, he looks like a juggernaut; outside, with his raspy voice, hearing aid and glasses, he could be your next-door neighbour. Marisa Tomei delivers a gutsy performance as Cassidy and Evan Rachel Wood is utterly convincing (yet again) as Stephanie. Kudos should go to Robert Siegel for his finely structured and logical screenplay. The film’s cinematography and production values are also quite satisfying.

What more can I say? That THE WRESTLER is a treasurable sports film because it chooses realism over pompousness and honesty over corniness. In a way, it manages to transcend its subject matter to reach all among us who are growing old and who feel that society is turning its back on them. Aging is such a sad reality that you can’t blame Randy for dodging it as long as he can. Will it be steroids or Geritol?


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