Przypadek

English title: Blind Chance

Also known as: (le) Hasard

Genre: psychological drama

With: Boguslaw Linda (Witold ‟Witek” Dlugosz), Tadeusz Lomnicki (Werner), Zbigniew Zapasiewicz (Adam), Boguslawa Pawelec (Czuszka), Marzena Trybala (Werka), Jacek Borkowski (Marek), Jacek Sas-Uhrynowski (Daniel), Monika Gozdzik (Olga), Zygmunt Hubner (the Dean)

Director: Krzysztof Kieslowski

Screenplay: Krzysztof Kieslowski

Release: 1987

Studio: P.P. Film Polski

Rating: -

MBiS score: 8.6/10 

 

‟Without that bitterness, that hope... life would be lamentable.” 

 

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Story-line: BLIND CHANCE opens with a simple premise: after the death of his father, a medical student named Witek undergoes a ‟crisis of faith”, quits school and decides to go to Warsaw. Once he reaches the train station, however, fate takes over and leads him through different versions of his life (lasting 60, 40 and 20 minutes respectively on screen). 

Pluses: a charismatic cast anchored by Boguslaw Linda, an astute and admirably structured screenplay that features new and recurring characters who evolve depending on Witek's circumstances, sober but artistic production values, vitally important editing (Elzbieta Kurkowska), Wojciech Kilar’s beautiful musical theme reminiscent of Michel Legrand's finer compositions.

Minuses: if the opening scenes confuse you, focus on Witek. Personally, I didn't grasp all of the screenplay's subtleties due to my ignorance of recent Polish history but, even then, I was fascinated by Witek's adventures in politics, religion, education and love.      

Comments: in his films, Krzysztof Kieslowski (THREE COLORS, DEKALOG) didn't follow a formula or try to dazzle audiences but aimed for enlightenment and artistic expression (I guess he was also a patient man since authorities apparently delayed this film's release for 6 years by reason of its political content). In true Kieslowski fashion, BLIND CHANCE is unusual, challenging and eloquent in its demonstration of the vagaries of existence (and the heavy hand of communist rulers in this particular case). The more you think about this film, the more powerful it gets. 

 

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Cry Freedom

Genre: political thriller

With: Kevin Kline (Donald Woods), Denzel Washington (Stephen or ‟Steve” Biko), Penelope Wilton (Wendy Woods), Josette Simon (Doctor Ramphele), Kevin McNally (Ken), Sophie Mgcina (Evalina), John Matshikiza (Mapetla), Wabei Siyolwe (Tenjy), Zakes Mokae (Father Kani), John Thaw (Kruger), John Hargreaves (Bruce), Timothy West (De Wet), Ian Richardson (State Prosecutor), Michael Turner (Judge Boshoff), Tommy Buson (Tami)

Director: Richard Attenborough

Screenplay: John Briley (based on two books by Donald Woods)

Release: 1987

Studio: Marble Arch Productions, Universal Pictures

Rating: PG

MBiS score: 8.6/10 

 

‟It’s my country. I go where I like.”

 

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Story-line: South Africa, November 1975. When White soldiers and policemen storm the Crossroads settlement to brutally evict its Black ‟squatters”, the editor of the Daily Dispatch, Donald Woods, sees the incident as one more opportunity to portray Black leader Steve Biko as a ‟sensationalist who spreads hatred”. Before long, Woods will get to meet this hate-monger face to face... and begin to understand what apartheid truly means to those on the other side of the fence.      

Pluses: superb acting by Kevin Kline and especially Denzel Washington as the larger-than-life Steve Biko, a relentless, high-quality screenplay that treats its real-life subject with thoroughness and intelligence, fine direction (notably in group scenes), expert cinematography (Ronnie Taylor) and editing (Lesley Walker), an irreproachable musical score by George Fenton and Jonas Gwangwa.

Minuses: some may argue that the film depicts race issues mainly through the eyes of a white man but this does not detract from its human value. Both Woods and Biko have crucial lessons to teach us.

Comments: there are thousands of good movies in our cinematic universe but few are so impressive that watching them for even a minute draws you in and convinces you of their importance. CRY FREEDOM is one such accomplishment and I am not ashamed to say that I fought back tears more than once while seeing it. At times monstrous and Kafkaesque as a depiction of a despicable rule, Richard Attenborough’s work is also noble and constructive. I will always treasure this monument to human freedom and dignity. 

 

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Spy Who Came in from the Cold (The)

 

Genre: espionage thriller (in black and white)

With: Richard Burton (Alec Leamas), Claire Bloom (Nancy Perry), Oskar Werner (Fiedler), Sam Wanamaker (Peters), George Voskovec (Comrade Karden), Rupert Davies (George Smiley), Cyril Cusack (Control), Peter van Eyck (Hans-Dieter Mundt), Michael Hordern (Ashe)

Director: Martin Ritt

Screenplay: Paul Dehn and Guy Trosper (based on John le Carré's novel)

Release: 1965

Studio: Salem Films Limited

Rating: -

MBiS score: 8.6/10 

 

‟There’s only one rule: expediency.” 

 

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Story-line: when his efforts to protect an East German defector are thwarted in Berlin, British agent Alec Leamas is called back to London and offered a desk job. Dissatisfied with this new assignment, he becomes frustrated, reckless and even violent.

Pluses: an intense performance by Richard Burton, excellent support from Claire Bloom, Oskar Werner and cast, a formidable screenplay using logic, sly humour and blunt dialogues to show the dark, unflashy side of espionage, great cinematography (the exteriors especially), able direction that weaves a tight web of intrigue, a superbly mysterious musical score, convenient production values and a forceful ending.

Minuses: when Leamas and Ashe meet for lunch at a restaurant, pay attention to the paintings on the wall… frankly, I wouldn’t want them in my living room!

Comments: according to the Merriam-Webster Online Dictionary, to ‟come in from the cold” means ‟to become part of a group or of normal society again after one has been outside it”. In our case, Alec Leamas may have taken a step back in his career but his new endeavours won’t be any less strenuous, as Martin Ritt shows us in this magnificent and absorbing film. Don’t expect explosions, glamour or fancy gadgets from THE SPY WHO CAME IN FROM THE COLD… only murk, hidden intentions and a brutal game in which the stakes are sky-high for everyone, even the common citizen.          

 

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Paris nous appartient

English title: Paris Belongs to Us

Genre: psychological drama (in black and white)

With: Betty Schneider (Anne Goupil), Giani Esposito (Gérard Lenz), Françoise Prévost (Terry Yordan), Daniel Crohem (Philip Kaufman), François Maistre (Pierre, Anne’s brother)

Director: Jacques Rivette

Screenplay: Jacques Rivette and Jean Gruault

Release: 1961

Studio: Ajym Films, Les Films du Carrosse

Rating: -

MBiS score: 7.9/10

 

 

They’re Coming to Kill Us All… But Don’t Try to Find Out Who They Are  

 

 

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Story-line: June 1957 in the French capital. While studying for her English exams, Anne Goupil is called upon to comfort one of her neighbours, a desperate-looking young woman who knows her brother Pierre. Referring to other people she knows, the neighbour says, quite enigmatically, “They killed him. First it was Asunta, and now Juan. All his friends, all of us are goners, the whole world!” The next time Anne meets Pierre, she tells him about this odd encounter and he decides to introduce her to a group of intellectuals who have rallied around a renegade American journalist. It all adds up to something… but what is it exactly?

Pluses: a solid group of little-known actors playing complex, inscrutable characters (kudos in particular to Betty Schneider and Daniel Crohem), a well-built, innuendo-filled and slightly paranoid screenplay driven by brisk, cryptic and open-ended dialogues, a pleasing orchestral score recalling Varèse’s cacophonous classics, a couple of very funny moments, attractive photography, fitting production values and intelligent direction that makes sense of what could have been a very messy motion picture.  

Minuses: in spite of the movie poster above, PARIS NOUS APPARTIENT is not a travelogue but a politically-oriented whodunit. It isn’t a great film, it does feel longish at times but, oddly enough, it keeps you interested as you wonder how this is all going to end.   

Comments: what amazed me about this Kafkaesque story is its lead character, Anne the everyday heroine, a quiet young woman who shows surprising tenacity and courage as she investigates the uneasy relationships between members of the group and other individuals around them. Jacques Rivette (1928-2016) was a champion of atypical moviemaking and this, his first work, succeeds as an unsettling, original work in a genre that has seen its fair share of failures over the years. If you believe that conspiracy theories and alternative facts are very recent inventions, PARIS NOUS APPARTIENT will undoubtedly change your mind… and bend it at will.

 

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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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