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Wednesday, July 29, 2009

Fabulous Baker Boys (The)



Genre: psychological drama
With: Michelle Pfeiffer, Jeff Bridges, Beau Bridges
Director: Steve Kloves
Release: 1989
Studio: Gladden Entertainment, Glorious Productions, Mirage Enterprises, 20th Century Fox
Rating: R
MBiS score: 8.0/10


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Story-line: the Baker brothers, a pair of lounge pianists, meet with success after hiring singer Susie Diamond.
Pluses: a good screenplay, solid acting, a pivotal role in Michelle Pfeiffer’s career.
Minuses: none really.
Comments: this thoughtful story about music, recognition, love and the pursuit of artistic ambitions will surely entertain you. I always enjoy seeing the Bridges brothers and, of course, Michelle Pfeiffer’s striking poses on the piano are a highlight of this serious production.


MBiS

© 2009 – All rights reserved

Written On The Wind



Genre: family drama
Director: Douglas Sirk
Release: 1956
Studio: Universal Pictures
Rating: PG
MBiS score: 8.2/10


Even Oilmen Have The Blues


On a whim, oil baron Kyle Hadley (Robert Stack) hops on a plane with his friend Mitch Wayne (Rock Hudson) and travels from Texas to New York to eat a sandwich in one of his favourite restaurants. While in the Big Apple, Kyle also intends to do business with a publicity agent but his fortuitous meeting with Lucy Moore (Lauren Bacall), the agent’s assistant, will set off a whim of a different kind. With Dorothy Malone (Marylee, Kyle’s sister) and Robert Keith (Jasper Hadley, their father).

Director Douglas Sirk had a knack for gut-wrenching soap operas and WRITTEN ON THE WIND, based on a novel by Robert Wilder, shows him in particularly fine form. First and foremost, this film about love, desire and inadequacy features great characters interpreted by great actors. The dominant player in the story is undoubtedly Kyle Hadley, a brash young man driven to spectacular excess. Kyle expects everything from life and usually gets it but, unlike his disciplined father who worked for his gusto, Kyle orders it or brazenly deals for it; his penchant for booze also contributes to his avowed ‘bad boy reputation’. Mitch, a lifelong buddy and polar opposite, has always accepted his role as Kyle’s faithful sidekick but, as time passes and events dictate, their friendship will strain noticeably for reasons better left unsaid. As for Lucy, her positive influence may or may not be enough to counteract the dysfunctional nature of the Hadley household. Marylee, for her part, needs love desperately enough to look for it in all the wrong places and, as the drama unfolds, you will agree with Kyle’s description of his sister as ‘a bigger black sheep than me’. In WRITTEN ON THE WIND, it will be personal issues – and not money matters – that ignite the fireworks, so be prepared for a loud and colourful show.

Given such volatile characters, one could easily focus on them alone and overlook other aspects of the production but, in all fairness, Sirk’s work must also be commended for its excellent pacing, well-constructed dialogues and solid screenplay. Let’s not forget that Dorothy Malone deservedly won an Oscar for her scintillating performance as Marylee.

Now, have I said enough to convince you? I do hope so because this great drama from yesteryear must not be allowed to gather dust on some backroom shelf. If tales about happy people rarely make compelling films, then the Hadleys will captivate you with their experiences in love, jealousy, yearning and betrayal.


MBiS

© 2009 – All rights reserved

Sunday, July 19, 2009

Close My Eyes



Genre: psychological drama
With: Saskia Reeves, Clive Owen, Alan Rickman
Director: Stephen Poliakoff
Release: 1990
Studio: Beambright, Castle Hill Productions
Rating: R
MBiS score: 8.4/10


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Story-line: in life, there are secrets that only a brother and a sister can share.
Pluses: solid acting by the whole cast (a great turn for Alan Rickman), an apocalyptic mood, astounding visuals, a haunting classical score by Michael Gibbs.
Minuses: none whatsoever, although the film’s subject matter may be too daring for some viewers.
Comments: in the realm of literature, some of the most celebrated love stories are also the most unusual or controversial. If it were a book, CLOSE MY EYES would be one of those cherished classics. Do see it if you feel adventurous.


MBiS

© 2009 – All rights reserved

Boucher (Le)



English title: The Butcher
Genre: psychological drama
Director: Claude Chabrol
Release: 1969
Studio: Films La Boétie, Euro International Film
Rating: -
MBiS score: 8.0/10


A Friend In Need Is A Friend Indeed


Days after her arrival in the small French town of Trémolat, Hélène (Stéphane Audran) is invited to a wedding banquet where she bonds with Popaul (Jean Yanne), a down-to-earth butcher. Popaul’s friendship will soon prove comforting for the new teacher in town when reports of violence in a nearby forest spread fear throughout the commune. With Antonio Passalia (Angelo), Mario Beccaria (Léon Hamel), William Guerault (Charles) and Roger Rudel (Grumbach).

Like many other French films, LE BOUCHER is a truly startling work. In content, it combines a psychological drama with elements of suspense that were not even hinted at when Hélène’s story begins. In form, its low-key treatment of violent material is almost unsettling when you compare it with the blood-and-guts approach in Hollywood fare. As you will notice, director Claude Chabrol played down the more sensational aspects of the story-line and focused on the characters’ reaction to the violence unleashed in the commune. The end result is a sober and satisfying film that favours ideas over all-out mayhem.

Given this emphasis on psychology, character interplay is paramount in LE BOUCHER. After meeting in rather humorous circumstances (ah, those witty French people!), Hélène and Popaul will be attracted to each other in a very natural and logical way but, as often happens in real life, their relationship will not be picture-perfect. When they spend time together, you will feel a certain caution or ambivalence in both of them because they still ache from past experiences. I need not elaborate on the subject since the script provides sufficient answers and both leads deliver them with ample inspiration. As is usually the case with French films, you can also expect snappy dialogues, sustained tension and an unpredictable story-line from LE BOUCHER. You may take issue – as I did – with a couple of plot twists that seem rather weak and unconvincing but, overall, the movie’s effectiveness is not jeopardized by these minor blemishes.

Accordingly, I do think that LE BOUCHER is worth your time if you appreciate taut mysteries and crave for entertainment that disregards movie business formulas. There may be better films in movieland but this one is as distinctive as any.


MBiS

© 2009 – All rights reserved

Tuesday, July 7, 2009

Shadowlands



Genre: romantic drama
With: Anthony Hopkins, Debra Winger, Joseph Mazzello
Director: Richard Attenborough
Release: 1993
Studio: Shadowlands Productions, Price Entertainment, Savoy Pictures
Rating: PG
MBiS score: 8.1/10


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Story-line: this tragic film recalls a life-changing encounter between Irish novelist C.S. Lewis and American writer Joy Gresham.
Pluses: wonderful acting (notably by Debra Winger), lovely period detail.
Minuses: none whatsoever, but do keep a few hankies nearby.
Comments: a very sad and touching story about the power of love. Notice how C.S. Lewis will come to question principles he has always abided by... a sign of deep, deep pain. All in all, SHADOWLANDS is a memorable film about life’s beauty and unpredictability.


MBiS

© 2009 – All rights reserved

2001, A Space Odyssey



Genre: science fiction
Director: Stanley Kubrick
Release: 1968
Studio: Metro-Goldwyn-Mayer Studios Inc., MGM Distribution Company, Warner Bros. Pictures Distribution
Rating: G
MBiS score: 9.4/10


A Bicycle Built For Two


In cinema as in any other art form, the word ‘masterpiece’ must be interpreted with caution for it can be both a blessing and a curse. There are masterpieces that everyone should see by reason of their evocative power or universal appeal and others so difficult or overloaded with symbolism that they yield little viewing pleasure. 2001, A SPACE ODYSSEY stands on middle ground as it entertains as much as it confounds. Even today, it remains a fascinating encounter with man past and future and a puzzling journey to the outer limits of humanity itself.

It is not mandatory for film buffs to read Arthur C. Clarke’s book before seeing its cinematic version but leafing through it (as I have) may help you understand what it’s all about. The movie begins with a bright celestial crescent on a dark background and the thunderous opening from Richard Strauss’ Also sprach Zarathustra. Follows the first of three segments, this one entitled The Dawn Of Humanity, which depicts a chimpanzee tribe – or a group of prehistoric men, if you will – living desperate times. The group has to rummage for food and water, is threatened by a potent predator and barely holds its ground against stronger, better nourished enemies. It is then, as extinction looms, that the chimps discover a pitch-black monolith, a smooth and perfectly shaped vertical slab that they greet with fear, suspicion and curiosity. Ultimately, the tribe leader will gingerly approach the lifeless form and touch it. From then on, the tribe’s existence brightens immeasurably. The lesson to be learned from this first segment is that the monolith appeared at a crucial moment for man and helped him triumph over adversity.

The other segments take place in the not too distant future. In the second, a prominent scientist, Dr. Heywood Floyd (William Sylvester), is sent to the moon on a secret mission and, in the third, a team of astronauts led by David Bowman and Frank Poole (played by Keir Dullea and Gary Lockwood respectively) head for Jupiter. At this point, this is really all you need to know.

Highlights are plentiful in 2001, A SPACE ODYSSEY. In the prehistoric segment, the presence of those pesky tapirs is factually correct – although defenseless, these animals are among the oldest species still living on earth. On a different level, the other segments will also amaze you with their futuristic creations and set designs that punctuate the story-line but never feel superfluous or gadgety. Do notice the cold and clinical mood Kubrick has imagined for his space stories, the political hanky-panky behind Dr. Floyd’s visit to the moon, the ballet interludes featuring various crafts sailing through space and those touches of wry humour about scientific breakthroughs and embarrassments. The script also contains space travel references from the 60s that are still scientifically sound today.

Technically speaking, Kubrick’s work is similarly astounding, with its spectacular visuals and special effects, its oblique camera angles and that eerie, otherworldly music. Many frames from this movie have become part of cinematic history and even popular culture. The descent towards Jupiter, illustrated by patches of colour thrown on screen à la Jackson Pollock, ranks as a most unusual and awe-inspiring sensory experience. In the third segment especially, tension builds slowly and deliberately, as mirrored by Bowman’s increasingly anguished face, and climaxes into a metaphysical and thought-provoking denouement that transcends usual science fiction canons.

Enough said. When you see it, you will understand why 2001, A SPACE ODYSSEY has been called one of the greatest films ever: it has withstood the test of time. In the late 60s, while man was rehearsing his first moon walk, Kubrick and crew were searching our solar system and beyond. Their dedication produced a movie of remarkable anticipation that still mesmerizes movie fans 41 years after its release. Don’t miss this film unlike any other.


MBiS

© 2009 – All rights reserved

Monday, June 29, 2009

Conversation (The)



Genre: psychological drama
With: Gene Hackman, John Cazale, Allen Garfield
Director: Francis Ford Coppola
Release: 1974
Studio: Directors Company, American Zoetrope, Paramount Pictures
Rating: PG
MBiS score: 8.3/10


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Story-line: Harry Caul, an electronic surveillance expert, struggles with his conscience when he learns of a murder plot in the course of his business.
Pluses: masterful direction, a mood of cold suspicion, disturbing images and a solid cast. As an aside, be on the lookout for a very young Harrison Ford.
Minuses: none really.
Comments: a gem from the 70s, Hollywood’s last great era, and a cryptic, nightmarish film.


MBiS

© 2009 – All rights reserved

Dirty Pretty Things



Genre: suspense drama
Director: Stephen Frears
Release: 2003
Studio: Celador Films, Celador Productions, BBC Films, Blue Films, Miramax Films
Rating: R
MBiS score: 8.2/10


One From The Heart


For Okwe (Chiwetel Ejiofor), an illegal immigrant living in London, time and sleep are priceless commodities. To make ends meet, he must hold down two jobs simultaneously – as a cab driver and a porter at the Baltic Hotel – and his precarious status allows for little socializing except with Senay (Audrey Tautou), a young Turkish woman also living in limbo on British soil. That should be enough trouble for any man to endure… until a plumbing problem in room 510 puts our hero in a real bind. With Sophie Okonedo (Juliette), Sergi Lopez (Signor Juan or ‘Sneaky’, Okwe’s boss at the Baltic) and Benedict Wong (Guo Yi).

I was attracted to DIRTY PRETTY THINGS because I remembered reading favourable reviews upon its release but, after finally seeing it, I must admit that it is a much better film than I was led to believe. Its value is twofold, firstly as a candid commentary about the developed world and secondly as a tight suspense film that offers great entertainment. On a socio-political level, it clearly denounces our Western world’s growing disdain for immigrants by focusing on innocent foreigners who have been forced into subservience as a result of our faltering economies (and, I might add, the hardening of consciences since 9/11 despite Barack Obama's soothing words). Among the foreigners depicted in the movie, Okwe will strike you as a caring and sympathetic man burdened by past and present alike, a noble character convincingly portrayed by Chiwetel Ejiofor. As for Senay, a young woman handicapped by her sex as well as her social status, some critics have panned Audrey Tautou’s incarnation but it must be said that Senay’s inexperience and vulnerability certainly contributed to Audrey’s restraint in her role. Among the other characters, Benedict Wong impressed me with his tongue-in-cheek performance while Sergi Lopez proved himself worthy of Robert De Niro in one of his meaner streaks.

Beyond these comments, I will reveal nothing of the movie’s story-line because the less you know about it, the more impact it will generate. From a technical standpoint, the movie also gives little cause for criticism, with its crisp visuals and faultless direction by Stephen Frears, one of the best in the business. That should cover the essentials, I think.

Need I say more? Not really. Do watch this thrilling bit of cinema and remember to be kind to foreigners around you. Many of them are stuck at the bottom of the social ladder and God only knows how painful life can be for them.


MBiS

© 2009 – All rights reserved

Z



Genre: political drama
With: Yves Montand, Jean-Louis Trintignant, Irene Papas
Director: Constantin Costa-Gavras
Release: 1969
Studio: Fox Lorber Associates
Rating: PG
MBiS score: 9.1/10


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Story-line: when threats are uttered against a charismatic opposition leader, his followers ask for police protection but, strangely enough, authorities see little need for action.
Pluses: a riveting drama depicting blood-curdling events, tremendous acting performances, Mikis Theodorakis’ perfect score and a bevy of unforgettable characters.
Minuses: none whatsoever.
Comments: a story riddled with sleaze, corruption and genuine danger. Without a doubt, one of the very best political thrillers ever shown on the silver screen.


MBiS

© 2009 – All rights reserved

Sweet Sixteen



Genre: crime drama
Director: Ken Loach
Release: 2003
Studio: Diaphana Films, Alta Films, BBC Films, Lionsgate
Rating: R
MBiS score: 8.2/10


Keeping Busy While Mom Is Away


Unlike most Scottish teenagers, fifteen-year-old Liam (Martin Compston) already knows about the seedier side of life. His mother Jean (Michelle Coulter) has been taken away from him due to a narcotics violation and, for the time being, he is forced to share living quarters with his dour grandfather and a trafficker named Stan (Gary McCormack), the man responsible for Jean’s incarceration. But all is not lost and our young man is far from disheartened. In fact, he sees happiness ahead for his family and himself… and will spare no effort to make it happen. With Annmarie Fulton (Chantelle, Liam’s sister) and William Ruane (Pinball, his best friend).

Gritty, working-class struggles are a Ken Loach specialty and SWEET SIXTEEN exemplifies his penchant for small-scale, unvarnished dramas. The movie’s highlight is a tough, tight and rock-solid script about a young man raised in a complex criminal environment who becomes a splendid delinquent in his own right. To reach his goal of happiness – which is no doubt honourable – he will use whatever tools his background has equipped him with and take any stance that circumstances dictate. Drug trafficking permeates his view of the world, a world in which making enemies and settling scores are necessary steps toward a new future for himself and his loved ones.

For us movie fans, SWEET SIXTEEN translates into a fine cinematic experience. It boasts able acting, especially by Martin Compston as the resourceful Liam, expert direction and a powerful payoff. Though its subject matter is unremittingly serious, the movie is by no means a trudge and its dialogues peppered with obscenities add touches of levity to our young man’s determined quest. Other than that, I see no need to comment on Loach’s movie since its mastery is simply unassailable.

So be it. I emphatically recommend SWEET SIXTEEN to all movie buffs in blogland and elsewhere on the Net. I found it a compelling watch and so will you.


MBiS

© 2009 – All rights reserved