All the King's Men

Genre: political drama

With: Broderick Crawford (Willie Stark), John Ireland (Jack Burden), Joanne Dru (Anne Stanton), John Derek (Tom Stark, Willie's son), Mercedes McCambridge (Sadie Burke), Shepperd Strudwick (Adam Stanton, Jack's friend), Ralph Dumke (Tiny Duffy), Anne Seymour (Lucy Stark)

Director: Robert Rossen

Screenplay: Robert Rossen (based on Robert Penn Warren's Pulitzer Prize winning novel)  

Release: 1949

Studio: Columbia Pictures

Rating: PG

MBiS score: 8.7/10

The More You Have, the More You Want

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Story-line: the American South in the late 1940s. Journalist Jack Burden is sent to Kanoma County to write about Willie Stark, a local politician who has a reputation for honesty and isn't afraid to denounce corruption in public office.  

Pluses: an impressive, Oscar-rewarded turn by Broderick Crawford (notice his conviction, charisma and firm voice), strong support from John Ireland, Joanne Dru and Mercedes McCambridge as an iron-willed political advisor, snappy and realistic dialogues, a full and flawless story providing great interplay between characters, top-notch direction and Al Clark’s expert editing.

Minuses: none I can think of... except that the movie is so truthful it's rather scary.

Comments: this Oscar-winning study of the political world – its targeted campaigns, high-risk strategies, dubious tactics and dangerous games – hasn't aged one bit in the last 70 years. It all comes down to this: you can't win without support... and support often has a price. Today, ALL THE KING'S MEN is still a remarkable motion picture... and an eye-opening lesson about populism and government.   

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Grande bouffe (la)

English title: Big Feast (The)

Genre: very black comedy 

With: Philippe Noiret (Philippe, a judge), Marcello Mastroianni (Marcello, the airline pilot), Ugo Tognazzi (Ugo, the master chef), Michel Piccoli (Michel, a TV producer), Andréa Ferréol (Andréa)

Director: Marco Ferreri

Screenplay and adaptation: Marco Ferreri and Rafael Azcona; dialogues by Francis Blanche

Release: 1973

Studio: Films 66, Mara Films, Capitolina Produzioni Cinematografiche

Rating: NC-17

MBiS score: 7.9/10

Pass the Pepto Please   

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Story-line: four friends share a secret wish: to commit suicide at a gourmet table.  

Pluses: savoury acting by a rich cast of epicureans, a daring and freewheeling screenplay that doesn't count calories, copious production values and full-bodied direction.

Minuses: certain scenes are truly disgusting and the menu includes sexual appetizers. The word ‟feast” used in the title is appropriate – same goes for the French ‟bouffe” – but it doesn’t fully prepare you for the ‟gorgetainment” you will witness.

Comments: LA GRANDE BOUFFE is not the most digestible movie ever made – nor the most edifying, since it offers little redeeming value – but, even today, it remains an audacious piece of work served with shock value and a dark streak craving for foie gras. Two words of caution: (1) never never never try this at home; (2) don't watch this one-of-a-kind film on a full stomach – the Pantagruelian final act may induce queasiness even in the bravest of movie buffs. What a ghastly gastronomic way to go!

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Before the Rain

Complete title: Before the Rain (a tale in three parts)

Genre: ethnic drama

With: Katrin Cartlidge (Anne Wentworth), Rade Serbedzija (Aleksandar Kirkov), Grégoire Colin (Kiril), Labina Mitevska (Zamira), Jay Villiers (Nick Wentworth), Silvija Stojanovska (Hana), Petar Mircevski (Zdrave), Ljupco Bresliski (Mitre), Ilko Stefanovski (Bojan), Abdurrahman Shala (Zekir), Vladimir Jacev (Alija), Phyllida Law (Anne's mother), Josif Josifovski (Father Marko)

Director: Milcho Manchevski

Screenplay: Milcho Manchevski

Release: 1994

Studio: Aim, British Screen Productions, European Co-production Fund et al.   

Rating: -

MBiS score: 8.6/10

‟It's important to take sides.”

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Story-line: a young monk facing a crisis, a London picture editor with marital problems and a globe-trotting photographer who has quit his job out of disgust are linked by fate to ethnic strife in Macedonia.

Pluses: quality performances by a uniformly convincing cast, tight direction, a brutal, first-class screenplay featuring spare dialogues and eloquent images, superb photography contrasting London's hustle and bustle with Macedonia's rugged beauty and poor countryside, an appropriate musical score and satisfying production values.

Minuses: none.

Comments: we can thank Milcho Manchevski for this essential film about a troubled, dangerous land where mistrust comes naturally, ethnic and religious lines are more tightly guarded than borders and guns are so prevalent that children use them as playthings. As a statement and a work of fiction, BEFORE THE RAIN is all the more powerful when you consider its narrative structure and how its characters are lured into an intractable conflict. A worthy co-winner at the Venice Film Festival.   

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King’s Speech (The)

Genre: historical and personal drama

With: Colin Firth (the Duke of York, a.k.a. Bertie), Helena Bonham Carter (his wife Elizabeth), Geoffrey Rush (Lionel Logue), Jennifer Ehle (Myrtle, Lionel’s wife), Michael Gambon (King George V), Guy Pearce (the future King Edward, a.k.a. David), Derek Jacobi (Archbishop Cosmo Lang), Eve Best (Wallis Simpson), Timothy Spall (Winston Churchill)

Director: Tom Hooper

Screenplay: David Seidler

Release: 2010

Studio: Momentum Pictures, See-Saw Films, Bedlam Productions et al.

Rating: PG

MBiS score: 8.2/10





The Man Who Shouldn’t Be King

  



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Story-line: in 1925, when asked to deliver a speech at Wembley Stadium, the Duke of York utters only one sentence before falling silent. Nine years later, still searching for a cure to his impediment, he is led to Lionel Logue, an unorthodox Australian therapist.  

Pluses: a splendid acting duel between Colin Firth and Geoffrey Rush, excellent support from Helena Bonham Carter, Michael Gambon and Derek Jacobi, well-written dialogues tinged with startling cruelty and unexpected humour, a logical screenplay that features fresh insights and lovely set pieces, Tom Hooper’s flowing direction and Danny Cohen’s polished cinematography.

Minuses: the first 15 minutes are uninspiring but the story livens up once Lionel Logue makes his entrance. As a whole, this all-too-perfect film does feel like Oscar bait (it did win four statuettes, notably for Best Picture).  

Comments: if it had focused solely on the Duke’s stammering, THE KING’S SPEECH would have been a very competent albeit forgettable ‟disease” movie but, fortunately for us, other issues about the Duke – his personal ordeal, the political context of the times, the weight of royalty and conventions – elevate it above the routine. Its most effective segments – in my mind, anyway – involve little action, as when the two protagonists discuss life and try to help and/or upset each other. Of course, their mutual struggle is part of the well-worn ‟trials before triumph” formula…but one that yields fine results for Tom Hooper and crew.     




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Incendies

Genre: socio-political drama  

With: Lubna Azabal (Nawal Marwan), Mélissa Désormeaux-Poulin (Jeanne Marwan), Maxim Gaudette (Simon Marwan), Rémy Girard (Notary Lebel), Dominique Briand (Professor Niv Cohen), Hamed Najem (Wahab), Majida Hussein (Nawal’s grandmother), Nabil Koni (Uncle Charbel), Zalfa Chelhot (Nouchine), Abdelghafour Elaaziz (Abou Tarek), Baya Belal (Maika), Allen Altman (Notary Maddad), Hussein Sami (Nihad at 5), Yousef Soufan (Nihad at 15), Mohamed Majd (Wallat Chamseddine)

Director: Denis Villeneuve

Screenplay: Denis Villeneuve with Valérie Beaugrand-Champagne (from a play by Wajdi Mouawad)

Release: 2010

Studio: micro_scope, TS Productions et al.

Rating: R

MBiS score: 8.6/10





It’s a Small World After All





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Story-line: after Nawal Marwan’s death, her twentysomething twins raised in Québec are thrown for a loop when they hear the contents of her last will and testament. Referring to a promise unkept, Nawal has left two letters for them to deliver, one to their father – whom they believed dead – and the other to a brother they never knew they had. Moreover, to fulfill the promise, they must travel to her country of origin, Lebanon, and delve into its troubled recent history. 
    

Pluses: a serious and intricate story, an airtight screenplay that provides effective flashbacks and fine dialogues, restrained performances by a competent group of actors (especially the Middle Eastern cast), Denis Villeneuve’s moderately paced direction that captures the mood and complexity of the story while keeping viewers interested throughout, impressive cinematography (most notably on location) and a hard-hitting ending.  


Minuses: you may need some time to get used to this heavy film but it all works out splendidly as its mysteries are unravelled.   


Comments: although INCENDIES (which means ‟Fires”) is excellent in every way, I have rarely seen a movie in which the story is so dominant a feature. Its potent themes (the search for one’s identity, the cycle of violence in the Middle East and the duty of memory) are exposed in a flawless, compelling and devastating way. Let Denis Villeneuve, a world-class director, and Wajdi Mouawad, the fearless playwright, take you to this other world, this other context we all need to understand wherever we live on this planet. INCENDIES, in my judgment, is one of the very best films ever produced in Québec.





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Der Untergang

English title: Downfall

Genre: war drama  

With: Alexandra Maria Lara (Traudl Junge), Bruno Ganz (Hitler), Juliane Köhler (Eva Braun), Ulrich Matthes (Joseph Goebbels, the officer in a brown uniform), Corinna Harfouch (Magda Goebbels, his wife), Christian Berkel (Schenck, the SS doctor), Ulrich Noethen (Himmler), Thomas Kretschmann (Hermann Fegelein, Himmler’s assistant), Heino Ferch (Speer, the architect), Götz Otto (Günsche), Donevan Gunia (Peter, a Hitler Youth)

Director: Oliver Hirschbiegel

Screenplay: Bernd Eichinger (based on a book by Traudl Junge and Melissa Müller and another by Joachim Fest)

Release: 2004

Studio: Constantin Film, Norddeutscher Rundfunk et al.

Rating: R

MBiS score: 8.1/10





Imagine You’re a Secretary… and Your Boss Is Adolf Hitler





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Story-line: in April 1945, Russian cannons are pounding Berlin and the capital will soon be surrounded. Traudl Junge, Hitler’s personal secretary, recalls those final days in his bunker underneath the Chancery.  

Pluses: a hallucinating turn by Bruno Ganz (notice his spastic left hand, stray lock of hair and violent opposition to ‟kapitulation”), solid acting support, a claustrophobic and competently structured screenplay, striking cinematography and able direction.

Minuses: you will need a little while to get acquainted with the film’s multiple characters but don’t expect much high-mindedness from them. As for subject matter, a number of reviewers have criticized DOWNFALL as too soft on its protagonists – considering their crimes against humanity – but the film does illustrate the Third Reich’s folly and cruelty even in its final days.

Comments: as you will see, some characters consider defeat as inevitable – while others are in denial – and several scenes border on the surreal (the communications breakdowns, a dilapidated hospital, the bargaining, those children manning the barricades). Inside the bunker, Traudl Junge plays a relatively minor role; the ones to watch are obviously Hitler, Eva Braun, Schenck, Himmler and the Goebbels (Joseph, the propaganda chief, and Magda, ‟the most courageous mother in Germany”). DOWNFALL is a disturbing yet useful story about hopelessness, a crushing wait and the ultimate defeat. In memory of Bruno Ganz (1941-2019).





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Solyaris

English title: Solaris

Genre: science fiction

With: Donatas Banionis (Kris Kelvin), Nikolay Grinko (Nik, his father), Olga Barnet (Anna, his mother), Vladislav Dvorzhetskiy (Anri Berton or Burton), Anatoliy Solonitsyn (Sartorius), Jüri Järvet (Snaut), Sos Sargsyan (Grybarian or Gibarian), Natalya Bondarchuk (Khari or Hari), Georgiy Teykh (Prof. Messendzher or Messenger)

Director: Andrei Tarkovsky

Screenplay: Fridrikh Gorenshteyn and Andrei Tarkovsky (based on a novel by Stanislaw Lem)

Release: 1972

Studio: Mosfilm, Chetvyortoe Tvorcheskoe Obedinenie

Rating: PG

MBiS score: 8.8/10





How It All Comes Back to Haunt You





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Story-line: as he prepares for a trip into space to investigate the failed Solaris mission, Kris Kelvin is forewarned of danger by a disgraced former mission member but insists that his investigation will be based on facts, not on ‟hallucinations”.

Pluses: solid performances by Donatas Banionis (as the conscientious Kelvin), Anatoliy Solonitsyn (the cold Sartorius), Jüri Järvet (the ultimately amiable Snaut) and Natalya Bondarchuk (the vulnerable Hari), outstanding direction that makes sense of a very confusing situation, a mysterious and detailed screenplay that produces subdued but efficient tension and a few darkly funny moments, several pointed comments about science and life, Vadim Yusov’s gorgeous cinematography, an eerie score by Eduard Artemev and a stunning, cryptic ending.

Minuses: none whatsoever.

Comments: there are inevitable comparisons to be drawn between this Cannes Grand Prix winner and Stanley Kubrick’s earlier 2001: A SPACE ODYSSEY – similar mood, set design, use of classical music (Bach instead of waltzes) and villain (the ocean instead of Hal) – but their raison d’être is not the same. While Kubrick presents a grandiose spectacle of spaceships, special effects and enigmas about humanity, SOLARIS focuses on deeply personal matters, intellectual thought and the surreal. As such, it raises moral and metaphysical questions in an unexpected way. Part sci-fi drama, part Greek tragedy, Andrei Tarkovsky’s astonishing work is a symbolic and brilliant mind-bender on space discovery – yes – but even more on self-discovery.





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Germinal

Genre: period drama 

With: Renaud (Étienne Lantier), Gérard Depardieu (Toussaint Maheu), Miou-Miou (la Maheude, Toussaint’s wife), Jean Carmet (Vincent Maheu, aka Bonnemort), Judith Henry (Catherine Maheu), Jean-Roger Milo (Chaval), Laurent Terzieff (Souvarine)

Director: Claude Berri

Screenplay: Claude Berri and Arlette Langmann (based on Émile Zola’s novel)

Release: 1993

Studio: Renn Productions, France 2 Cinéma et al.

Rating: R

MBiS score: 8.4/10





Rebelling Against the Industrial Revolution





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Story-line: when he is hired as a coal miner in Northern France, Étienne Lantier witnesses the deplorable fate of local workers and their families.  

Pluses: strong acting by protest singer Renaud (in a rare movie appearance), Gérard Depardieu, Miou-Miou and a seasoned cast, disciplined direction, a serious screenplay based on Zola’s classic novel, vivid cinematography, irreproachable production values.

Minuses: you may be shocked by one very heavy riot scene.

Comments: GERMINAL is a clear example of gritty, socially-conscious cinema and a gripping testimony about labour relations in the 1860s, when businessmen and bosses felt no social responsibility towards their workforce. It also illustrates how men (and women) can resort to unspeakable violence when driven to extremes. Required viewing for movie buffs.





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Bonnie and Clyde

Genre: crime drama 

With: Warren Beatty (Clyde Barrow), Faye Dunaway (Bonnie Parker), Michael J. Pollard (C.W. Moss, the mechanic), Gene Hackman (Buck Barrow), Denver Pyle (Frank Hamer), Estelle Parsons (Blanche Barrow, Buck's wife), Dub Taylor (Ivan Moss)

Director: Arthur Penn

Screenplay: David Newman and Robert Benton (with Robert Towne)

Release: 1967

Studio: Warner Bros.-Seven Arts, Tatira-Hiller

Rating: PG

MBiS score: 8.8/10

Not All It Was Cracked Up to Be

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Story-line: 1931, the Depression era. When Bonnie Parker, a waitress at an East Dallas restaurant, sees a loiterer near her mother's car, she shows neither fear nor shame. Standing naked in the window, she talks to the man and befriends him instantly. From then on Bonnie and Clyde will be partners in life... and partners in crime.

Pluses: legendary turns by Faye Dunaway and Warren Beatty, a strong supporting cast, superior direction, a riveting screenplay that mixes violence, startling events and moments of heartbreak, great cinematography (Burnett Guffey) and one of the most disturbing final sequences in film history.  

Minuses: none, except for a few graphic scenes.

Comments: the old proverb ‟once a thief, always a thief” aptly applies to Bonnie and Clyde's outlaw days and Arthur Penn’s momentous motion picture recounts them in vivid, tragic detail. This dark work is a milestone in American cinema, no less.

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We Don’t Live Here Anymore

Genre: relationship drama

With: Laura Dern and Mark Ruffalo (Terry and Jack Linden), Naomi Watts and Peter Krause (Edith and Hank Evans)

Director: John Curran

Screenplay: Larry Gross (based on two short stories by Andre Dubus)

Release: 2004

Studio: Front Street Pictures, Front Street Productions, Renaissance Films

Rating: R

MBiS score: 8.0/10





‟You know what I wanted. I wanted to know where we were. Now I know.”





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Story-line: one Friday evening, the Lindens are hosting their good friends the Evans. They all seem quite happy… but are they really?

Pluses: a talented cast led by Laura Dern and Mark Ruffalo, a logical and honest screenplay, able direction and adequate production values.   

Minuses: the foul language used may irritate sensitive viewers. 

Comments: while some movies about disenchantment in marriage take ruinous shortcuts, this one carefully establishes each protagonist’s mindset and dares to explore difficult issues. How do two people know they are meant for each other? When things go sour, what should a couple do… hang on or call it quits? Can you love your partner while having an affair? Those are the questions our couples will consider… and try to answer as best they can. With its mood reminiscent of THE ICE STORM and its twisted games à la DANGEROUS LIAISONS, John Curran’s modest film is competent, thoughtful and enlightening.

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