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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Phoenix

Genre: psychological drama

With: Nina Hoss (Nelly Lenz), Ronald Zehrfeld (Johnny Lenz), Nina Kunzendorf (Lene Winter, Nelly’s best friend), Trystan Pütter (the soldier), Michael Maertens (Arzt), Imogen Kogge (Elisabeth), Felix Römer (Geiger)

Director: Christian Petzold

Screenplay: Christian Petzold and Harun Farocki (based on Hubert Monteilhet’s novel)

Release: 2014

Studio: Schramm Film Koerner & Weber, Bayerischer Rundfunk et al.

Rating: PG-13

MBiS score: 8.4/10

 

The Role She Was Born to Play

 

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Story-line: in the days after World War II, a Jewish woman badly disfigured by the Nazis undergoes reparative surgery and sets out to find her husband without whom life would be meaningless.     

Pluses: impeccable acting by Nina Hoss and cast, a mature and riveting screenplay that evokes the surreal uneasiness of post-war Germany and progresses steadily toward a glorious conclusion, satisfying aesthetics and production values, first-rate direction, a fabulous musical score by Stefan Will (appearing as a pianist) and unusually crisp sound recording.

Minuses: some reviewers have faulted the screenplay as implausible but, try as I may, I didn’t find anything in it that requires more than the usual suspension of disbelief. What can I say… this movie really scored with me.  

Comments: in a way similar to the mythical bird, PHOENIX symbolizes Nelly’s return to life after terrible traumas and unsettling realizations. And her resurgence is all the more captivating in Christian Petzold’s mysterious movie that will haunt you well after its final credits. Speak Low When You Speak Love…  

 

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Stranger (The)

Genre: suspense film (in black and white)

With: Edward G. Robinson (Mr. Wilson), Loretta Young (Mary Longstreet), Orson Welles (Charles Rankin), Philip Merivale (Judge Longstreet), Richard Long (Noah Longstreet), Byron Keith (Dr. Lawrence), Billy House (Mr. Potter), Konstantin Shayne (Konrad Meinike)

Director: Orson Welles

Screenplay: Anthony Veiller (aided by Orson Welles and John Huston), from a story by Victor Trivas adapted by Trivas and Decla Dunning

Release: 1946

Studio: International Pictures, Inc., The Haig Corporation

Rating: PG

MBiS score: 8.4/10

 

Love Is Blind, So They Say

 

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Story-line: with the end of WW II, alleged crimes against humanity are investigated in Nuremberg and elsewhere. Before the Allied War Crimes Commission, the American representative, Wilson, argues that the Nazi mastermind he is after will only be found by freeing a former accomplice, a man named Meinike, and following him wherever he leads. Although opposed by some commissioners, Wilson's plan is accepted and, upon release, a nervous-looking Meinike hops on a boat headed for a Latin country. You can count on Wilson to be hot on his trail...

Pluses: fine performances by Edward G. Robinson (as enigmatic as always), Orson Welles (an actor not unlike Oliver Reed) and a convincing Loretta Young in a pivotal role, sober and systematic direction that keeps things rolling along, a brisk and serious screenplay that develops its characters with intelligence and stokes tension efficiently, modest but adequate production values, a suitable musical score by Bronislau Kaper.

Minuses: be forewarned: the film features a few chilling but appropriately used scenes from the Nazi death camps.

Comments: THE STRANGER has much more to offer than its generic title may suggest and, frankly, I found it rather daring in its treatment of Nazi psychology and war crime issues so early after WW II. It boasts marquee names in a taut, film noir-like story that makes remarkable use of watches and clocks to drive its point about evil men and the secrets they harbour. Here is a fine example of what Orson Welles could do on both sides of the camera and a film that Hitchcock would have gladly included among his better works.    

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The Bear

Genre: nature drama

With: Youk (the Bear Cub), Bart (the Kodiak Bear), Tchéky Karyo (Tom), Jack Wallace (Bill), André Lacombe (the hunter with dogs)

Director: Jean-Jacques Annaud

Screenplay: Gérard Brach (based on James Oliver Curwood's novel)

Release: 1988 

Studio: Price, Renn Productions

Rating: PG

MBiS score: 8.1/10

 

 

They May Be Likeable on Screen But 

They'll Never Be Teddy Bears

 

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Story-line: the venue is British Columbia, the time, 1885. When its mother dies in an unfortunate accident, a bear cub has to fend for itself in an unforgiving habitat and guard against strange creatures that roam the forest on their hind legs and carry metal rods that go boom!

Pluses: an astute screenplay combining tragedy, suspense and genuinely touching moments, awesome direction, extraordinary camera work by Philippe Rousselot (A RIVER RUNS THROUGH IT), good acting from a smallish cast, outstanding special effects and production values, beautiful music by Philippe Sarde and the London Symphony Orchestra.

Minuses: be on notice that one hunter's trick involves bear turd. The dream sequences, albeit useful, seem a bit awkward and unrealistic.  

Comments: THE BEAR stands apart from usual wildlife features in that it avoids corniness and doesn't hide the more brutal aspects of our natural world. Having seen François Truffaut's LA NUIT AMÉRICAINE – in which he comments on the use of animals in cinema – I was truly amazed by Jean-Jacques Annaud's technical feat; I don't even want to know how he achieved it all (although Animatronics were certainly used at some point). As for rating this remarkable nature project, I gave it an 8.6 for technical merit, photography and editing but a 7.6 for the story itself, considering the limits to what drama, comedy and nuance one can pull from Kodiaks and grizzlies... thus my score of 8.1, admittedly lower than most. Kudos to J.-J. Annaud and team for a strong and lovely movie that pays due respect to the animal kingdom.  

 

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 Stop Making Sense

Genre: concert film  

With: the Talking Heads: David Byrne (guitar and lead vocals), Tina Weymouth (bass), Jerry Harrison (guitar and keyboards), Chris Frantz (drums); guest musicians and singers

Director: Jonathan Demme

Screenplay: Jonathan Demme, the Talking Heads

Release: 1984

Studio: Talking Heads, Arnold Stiefel Company

Rating: -

MBiS score: 8.0/10 

 

Cure Your Anxiety with a Healthy Dose of Rock and Funk 

 

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Story-line: the Talking Heads, celebrated angstmeisters of rock's new wave era, are presented in concert for your viewing pleasure. 

Pluses: David Byrne's theatrics and fiery showmanship, the band's unbridled energy, a sparkling repertoire of songs founded in alienation, wry humour and irony, top-notch direction, editing and production values, Jordan Cronenweth's lovely and sometimes grainy cinematography and, very importantly, excellent s-o-u-n-d.

Minuses: don't be misled by the film's mellow beginning... it warms up in no time. Although well versed reviewers have called it the best concert film ever made, I can't see how it surpasses THE LAST WALTZ. As for the "big suit" worn by David Byrne in the final act, some people may find it offensive and, quite frankly, I didn't understand the concept behind it.

Comments: at the time this film was made, I saw the Heads in Montreal and, although they had delivered a fine set that night, I don't remember David Byrne giving such a torrid, exhausting performance as here. Let's give credit to Jonathan Demme for immortalizing these distinctive, off-kilter musicians at the height of their creative careers. Don't be straight, don't be normal, STOP MAKING SENSE!     

 

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Dark Passage

Genre: crime drama (in black and white)

With: Humphrey Bogart (Vincent Parry), Lauren Bacall (Irene Jansen), Bruce Bennett (Bob), Agnes Moorehead (Madge Rapf), Tom D'Andrea (Sam, the cab driver), Rory Mallinson (George Fellsinger), Houseley Stevenson (Coley), Clifton Young (Baker), Douglas Kennedy (Detective)

Director: Delmer Daves

Screenplay: Delmer Daves (based on the novel by David Goodis)

Release: 1947

Studio: Warner Bros. (as Warner Bros.-First National Pictures)

Rating: PG

MBiS score: 8.5/10

 

 

A Film Noir Double Bill –

At Face Value

 

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Story-line: freshly escaped from San Quentin, Vincent Parry has plenty to worry about. For one thing, he’s not sure he can trust the girl who picked him up on the road and is taking him to San Francisco. For another, he’s a shoo-in to get caught because he’s one of those guys who hasn’t got “a chance in this world”. What’s a fugitive to do, especially one who claims he’s innocent?

Pluses: top-level acting from Humphrey Bogart (in a dry and sombre role), Lauren Bacall (showing coldness but also restrained passion), Bruce Bennett and Agnes Moorehead, vigorous and inventive direction, a tight, logical and complicated screenplay featuring a close-knit circle of characters and remarkably brisk dialogues, irreproachable production values, an ominous musical score and a memorable ending.

Minuses: none really.

Comments: Encyclopaedia Britannica online defines “film noir” as a “style of filmmaking characterized by such elements as cynical heroes, stark lighting effects, frequent use of flashbacks, intricate plots, and an underlying existentialist philosophy. The genre was prevalent mostly in American crime dramas of the post-World War II era.” A brilliant definition... and one that cleverly explains what DARK PASSAGE is all about. Vincent Parry faces danger everywhere he goes, cops and baddies are always on his trail and trust is something he can’t extend too liberally. All this adds up to a genuinely riveting drama, a quintessential film noir... and a fine addition to your movie repertory. 

 

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 Kiss Me Deadly

Genre: suspense (in black and white) 

With: Ralph Meeker (Mike Hammer), Maxine Cooper (Velda Wickman), Wesley Addy (Lt. Pat Murphy), Paul Stewart (Carl Evello), Juano Hernandez (Eddie Yeager), Marian Carr (Friday), Albert Dekker (Soberin), Fortunio Bonanova (Carmen Trivago), Cloris Leachman (Christina Bailey), Gaby Rodgers (Lily)

Director: Robert Aldrich

Screenplay: A.I. Bezzerides (from a novel by Mickey Spillane)

Release: 1955

Studio: Parklane Pictures

Rating: NR

MBiS score: 8.6/10

 

 A Film Noir Double Bill –

‟Kiss me. The liar's kiss that says I love you, and means something else.”

 

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Story-line: when detective Mike Hammer picks up a barefooted blonde one night in the middle of nowhere, he senses that something’s up. Even more so when she tells him she’s ‟a loony from the laughing house. Loonies are dangerous.”   

Pluses: tone-perfect acting by Ralph Meeker and an utterly believable cast, fluid direction, a complicated and absorbing screenplay saturated with sinister-looking characters, sardonic dialogues and surprisingly heavy drama, an effective musical score, amazing costumes and sets (dig that telephone answering machine!), pretty (and sometimes slanted) cinematography, skilful editing and fine production values.

Minuses: none really… except that nobody’s legit in this stunning movie.

Comments: this gem of a film noir is mysterious, entertaining and ultimately very powerful. Like Hammer himself, you won’t figure things out until you’re in deep, deep trouble. With its tense and tragic tale that delivers a knockout ending, KISS ME DEADLY doesn’t disappoint… and you’ll have to trust me on that.

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