Comes a Horseman

Genre: modern western
With: Jane Fonda, James Caan, Jason Robards
Director: Alan J. Pakula
Release: 1978
Studio: United Artists Films
Rating: PG
MBiS score: 8.4/10


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Story-line: in Montana, at the end of World War II, a battle for acreage pits a woman rancher, a land baron and a former GI.
Pluses: wonderful acting, first-rate direction, splendid photography by Gordon C. Willis and a riveting story.
Minuses: none whatsoever.
Comments: this contemporary cowboy flick will definitely please all serious movie fans with its suspenseful story-line and tough characters. Those of you who like their James Caan quiet-looking but rock-hard better not miss this one!


MBiS

© 2011 – All rights reserved

Sundowners (The)

Genre: frontier family drama
Director: Fred Zinnemann
Release: 1960
Studio: Warner Bros. Pictures – Warner Bros. Pictures Distribution
Rating: NR
MBiS score: 7.3/10


Walk A Mile With Me… And Don’t Mind The Sheep Dung


THE SUNDOWNERS takes place in Australia during the 30s and begins with the three-member Carmody family roaming the countryside in a beat-up carriage. Paddy Carmody (Robert Mitchum), the head of the family, loves to go from town to town in search of work as a ranch hand; his tired wife Ida (Deborah Kerr), by contrast, would rather see him settle down and build a future for their son Sean (Michael Anderson Jr.). Stopping this time near an inviting little farm, Paddy plans on finding a job to his liking and snatches one the very next day: a six-week-long sheep drive paying one shilling a head. Oh, Ida, you’re such a lucky lady! With Peter Ustinov (Sir Rupert ‘Rupe’ Venneker), Glynis Johns (Mrs. Gert Firth), Dina Merrill (Jean Halstead), Chips Rafferty (foreman Quinlan), John Meillon (Bluey) and Wylie Watson (Herb Johnson). Screenplay by Isobel Lennart.

According to the Merriam-Webster Online Dictionary, the Australian word ‘sundowner’ refers to a hobo, a tramp or, more precisely, a person who makes it a habit of arriving somewhere late enough to obtain food and lodging while avoiding any real work. In Fred Zinnemann’s movie, which was inspired by a Jon Cleary novel, the Carmodys are not scroungers but honest folk who work hard and don’t take root anywhere. Once you see Paddy doggedly running after a dingo early on, you’ll agree with me that this man is not allergic to strenuous labour. He’s also a faithful husband, a sometimes irresponsible bloke and a true boozer that Robert Mitchum incarnates with vigour and an impish smile; try as I may, I can’t imagine any other thespian playing this endearing and enraging character with equal brio. As Ida, Deborah Kerr counters Mitchum’s masculine presence with her own excellence and some great comedic timing; in fact, her aura, courage and good spirits light up THE SUNDOWNERS even more brightly than big Mitch’s fine performance. The other players behind the Carmody couple also shine in amusing roles. You can count on Peter Ustinov to provide some effective comic relief as the smart-alecky Venneker while Glynis Johns, cast as a hotel manager, is utterly hilarious.

As a whole, however, THE SUNDOWNERS didn’t do it for me because its acting and other strengths – magnificent photography, bracing atmosphere, solid craftsmanship and healthy mix of comedy and drama – are oddly defeated by a standard, old-fashioned story-line that delivers mild, sanitized entertainment and little more. Most of the action can be summed up in a few plain words − work, money, open spaces, lifelong dreams − and when a late-coming twist takes the family in an entirely new and surprising direction, it doesn’t delight as much as it confounds. By then, most of the Carmodys’ magic has already been exhausted and the story, though steadfast in its logic, ends with a whimper; anyway, let’s give some credit to the family for remaining lovable throughout. On another level, I couldn’t understand where the Carmodys fit in the larger scheme of things since no social or historical context is established; perhaps the novel is more informative on this issue.

As I write this, I truly strain to find some personal payoff in the two hours plus I spent on this movie. I can only guess that, in the world of cinema, some films age gracefully while others simply age. THE SUNDOWNERS, though agreeable and quite watchable as general fare, belongs to that brand of moviemaking that tries so hard to please everyone that it loses its edge and resonance over time. By some strange coincidence, the next film we will review, COMES A HORSEMAN, also rides the wild country but is everything THE SUNDOWNERS is not. Giddy-up!


MBiS

© 2011 – All rights reserved

Where Angels Fear to Tread

Genre: period drama
With: Helen Mirren, Rupert Graves, Helena Bonham Carter
Director: Charles Sturridge
Release: 1991
Studio: Where Angels Fear to Tread Ltd., Stagescreen Productions, Sovereign Pictures
Rating: PG
MBiS score: 8.1/10


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Story-line: an Englishwoman’s impromptu marriage while on vacation in Italy causes serious problems for her family back home.
Pluses: a top-notch cast, seamless direction, a powerful story.
Minuses: some viewers may find the narrative a bit slow to develop, but it should be expected from an upper-class social drama such as this one.
Comments: E.M. Forster, the novelist who wrote HOWARD’S END, did not shy away from controversial subjects and his criticism of a certain English snobbery in WHERE ANGELS FEAR TO TREAD is biting and relevant. You won’t regret seeing this fine feature showcasing some of the best acting talent in Britain.


MBiS

© 2011 – All rights reserved

Thumbsucker

Genre: adolescent drama
Director: Mike Mills
Release: 2005
Studio: Bull’s Eye Entertainment, Sony Pictures Classics et al.
Rating: R
MBiS score: 7.9/10


Whatever Gets You Through The Night (thank you, John Lennon!)


At 17, Justin Cobb (Lou Pucci) is in an emotional rut. He lacks motivation in school, doesn’t know what to do with his life and has little success with girls. To relieve himself of his inner tension, he has resorted to sucking his thumb, a nasty habit that infuriates his father Mike (Vincent D’Onofrio) and saddens his mother Audrey (Tilda Swinton). With Vince Vaughn (Mr. Geary), Keanu Reeves (Dr. Perry Lyman), Kelli Garner (Rebecca), Chase Offerle (Joel, Justin’s little brother) and Benjamin Bratt.

Over the years, I have developed an interest for modest, second-tier productions (which works out well if you’re mostly into big-leaguers) and I do hope THUMBSUCKER attracts your attention because it’s an odd and engaging little ride. Though its subject matter may sound unappealing – and even repulsive – at first glance, it really stands out among recent Hollywood films due to its lively pace, intelligence and unpredictable story-line.

In content, THUMBSUCKER delivers some funny moments but doesn’t hide the fact that Justin’s life is mostly sad and rudderless. As bright as he is, our young man suffers from chronic insecurity and, all film long, he will struggle against his private demons using all means available to him. In the process, he will receive lots of advice from a motley group of onlookers, among them his mother and father, a gung-ho teacher and an adult mentor, Perry Lyman, who is at once fascinating and flaky (I don’t understand how an orthodontist can smoke on the job but Perry manages it). As an entertainment vehicle, THUMBSUCKER is never boring and some of its success can certainly be attributed to Lou Pucci and an excellent cast led by Tilda Swinton and Vincent D’Onofrio, a thespian who always catches my eye even in minor roles. In fact, there are enough twists and turns in Mike Mills’ film that it may feel disjointed at some point but it bounces back quickly enough and finishes with a nicely conceived denouement. Production values are consistent throughout and direction shows steadiness as well as ability.

More than anything, you will be impressed with THUMBSUCKER’s sensitivity and seriousness. Instead of mocking Justin or making him the star attraction of some adolescent freak show, it confronts him with a question we must all try to answer in life: how does one cope with this exhausting, dog-eat-dog world around us? For this reason alone, Mike Mills’ film is not only diverting but also instructive and worthy. A little advice never hurts and Perry’s is as good as any: ‘I accepted myself in all my human disorder. You might wanna do the same.’


MBiS

© 2011 – All rights reserved

Midnight Cowboy

Genre: psychological drama
With: Jon Voight, Dustin Hoffman, Sylvia Miles
Director: John Schlesinger
Release: 1969
Studio: Deluxe, Skywalker Sound, Jerome Hellman Productions
Rating: R N/A
MBiS score: 8.4/10


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Story-line: Joe Buck, tired of his dead-end life in Texas, heads for New York in search of fame and fortune.
Pluses: powerful acting, a story in tune with the times, solid direction.
Minuses: a brief psychedelic episode may test some viewers.
Comments: MIDNIGHT COWBOY remains a strong indictment of the American Dream and a poignant film about adversity and friendship. One more feather – and a beautiful one – to stick in your movie lover’s cap.


MBiS

© 2011 – All rights reserved

Snow Walker (The)

Genre: adventure drama
Director: Charles Martin Smith
Release: 2003
Studio: First Look Holdings, Infinity Media, Inc., Walk Well/Snow Walker
Rating: PG
MBiS score: 8.1/10


Behold the Great White North, Sense its Majesty and Menace


THE SNOW WALKER takes place in the Northwest Territories circa 1953 and our protagonist, airplane pilot Charlie Halliday (Barry Pepper), acts as a lifeline for native inhabitants of the area. As the story begins, Charlie is asked to deliver supplies to an Inuit band and gets permission to return home via Bathurst to conduct personal business. Taking to the air, he does not yet know that an unusual and important request will upset his well laid plans. With James Cromwell (Walter Shepherd, Charlie’s boss), Kiersten Warren (Estelle), Jon Gries (Pierce), Robin Dunne (Carl) and Annabella Piugattuk (Kanaalaq).

When I sat down to watch THE SNOW WALKER, I had just endured a couple of high-profile letdowns (on which I won’t comment) and I expected very little from this obscure, low-budget Canadian film. On paper, it does appear as noteworthy as a few snowflakes in January but, on screen, it beats down on you like a full-blown polar storm. Once it has set its rhythm and mood, you will realize that Charles Martin Smith’s humble movie stands as a force of nature, an absorbing and affecting trek through land and life. Nothing less, dear movie buffs.

The movie’s simple and genuinely touching screenplay, based on a Farley Mowat short story, showcases two characters bound by destiny and purpose and, as their friend and foe, a Northern expanse both barren and beautiful, a grandiose setting rife with adventure and danger. By way of incident, THE SNOW WALKER also links opposing cultures in a sensible, positive manner. I won’t say more about the plot, having already spoiled some of its impact, but I trust it will still enthrall you.

In other respects, THE SNOW WALKER remains as firm and reassuring as an inukshuk. It is blessed − truly blessed − with solid production values, efficient direction and first-rate acting, mainly from Barry Pepper and Annabella Piugattuk. Its narrative structure, artful juxtaposition of images and moving musical score by Michael Danna are also remarkably effective. Really, this is all you need to know for now.

My advice? Allow yourself some free time – preferably with a loved one – and watch this very impressive film set in a world not too distant but quite different from ours. THE SNOW WALKER deserves your attention and, even more so, your admiration.


MBiS

© 2011 – All rights reserved

Snapper (The)

Genre: family comedy
With: Colm Meaney, Tina Kellegher, Ruth McCabe
Director: Stephen Frears
Release: 1993
Studio: BBC Films, Distant Horizon Corporation
Rating: R
MBiS score: 8.1/10


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Story-line: all hell breaks loose in the Curley household when word gets out that young Sharon is pregnant.
Pluses: fabulous acting (especially by Colm Meany as Dessie, Sharon’s father), a really funny story written by Roddy Doyle, unerring direction, a lively pace.
Minuses: none whatsoever.
Comments: successful comedies are not that abundant in moviedom and this tight little film set in Dublin is one to be treasured. Sit back and enjoy, cinephiles, you deserve it.


MBiS

© 2010 – All rights reserved

Dogville

Genre: psychosocial drama
Director: Lars von Trier
Release: 2003
Studio: Arte France Cinéma, ARTE, YLE, Lionsgate Films et al.
*Quote inspired by The ‘60s – Decade of Tumult and Change, a special issue of LIFE magazine dated Dec. 26, 1969.
Rating: R
MBiS score: 8.1/10



‘When she yelps, it’s not a sign of pain, it’s a sign of joy.*’


The Depression has been raging for some time now and the people of Dogville, a hamlet in the Rockies, have gotten used to humble living and isolation. Nevertheless, when gunshots resonate one night and a pretty young stranger named Grace (Nicole Kidman) is found wandering in the streets, Tom Edison Jr. (Paul Bettany), the local philosopher, takes it upon himself to help her out. With John Hurt (the narrator), Lauren Bacall (Ma Ginger), Patricia Clarkson (Vera), Stellan Skarsgard (Chuck, Vera’s husband), Ben Gazzara (Jack McKay), Philip Baker Hall (Tom Edison Sr.), Zeljko Ivanek (Ben), Chloë Sevigny (Liz Henson) and James Caan (the man in the car).

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In 1964, when animal lovers chastised President Lyndon Johnson for pulling his beagles by the ears during a social gathering, LBJ answered that his pets loved it. Johnson’s reply – paraphrased above – eloquently reflects my mood after seeing DOGVILLE. It’s undoubtedly a solid and challenging film… but does it ever sting!

At first, I found DOGVILLE a bit confusing since it was produced with starkly limited means and without formal decor; all of its scenes were shot indoors under artificial lighting and with scant perspective, the set being surrounded by a white or flat black background. Moreover, the town’s buildings being represented only by rudimentary structures and white marks on the studio floor, characters were required to mime routine actions (entrances and exits, for example) and deprived of the most basic intimacy. Given these visual and creative constraints, you may need some time to adjust to the hamlet’s closed-in universe and Lars von Trier’s film, already longish at nearly three hours, appears achingly slow in its first half. Fortunately, the movie’s dramatic flow tightens up considerably afterwards and its awkward set-up, far from being a simple gimmick, truly mirrors the dilemma Grace’s presence forces on the townspeople.

But what sort of a beast is DOGVILLE, may you ask? Essentially a cross between fable and surrealist theatre, a cringeworthy meditation on fear, ignorance and oppression. This is not feel-good fare, not by a long shot, but high-impact cinema that slowly reveals its true nature and leaves you shuddering long after you’ve heard its important closing song. Its stiff political message will not be appreciated by all viewers but its power cannot be easily dismissed.

Even though DOGVILLE involved very little in terms of production values, it never feels cheap or unprofessional and its strong cast doesn’t disappoint. Nicole Kidman delivers a marvellous performance as the stranger who is tested again and again while John Hurt’s stylishly written narration adds to the tragedy conveyed on screen; I also liked Ben Gazzara and Paul Bettany, whose character bears a name both symbolic and ominous. The film’s subjects are often captured in tight close-up, as was the case in BREAKING THE WAVES, von Trier’s luminous work from 1996.

That’s about as far as I’ll go for now and, notwithstanding my recommendation, I must advise you that DOGVILLE is not a film for all tastes. It’s certainly a brave statement and a stunning work by an inventive European filmmaker… but be aware that it edifies and horrifies in equal measure.


MBiS

© 2010 – All rights reserved

Raise the Red Lantern

Also known as: Da hong deng long gao gao gua
Genre: psychological drama
With: Gong Li, He Caifei, Cao Cuifeng
Director: Zhang Yimou
Release: 1991
Studio: Era International, Salon Productions, China Film Co-production Corporation – Orion Classics
Rating: PG
MBiS score: 8.5/10


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Story-line: after accepting to marry a rich Chinese master, nineteen-year-old Songlian moves to his mansion… to live with his three other wives.
Pluses: beautiful visuals and costumes, impeccable acting, remarkable direction and a strong story about household politics.
Minuses: none whatsoever.
Comments: this brutal Chinese film set in the 20s showcases Zhang Yimou’s world-class talent as a director and Gong Li’s fearsome acting chops. No doubt about it, this picture is a biggie.


MBiS

© 2010 – All rights reserved

Genou de Claire (Le)

English title: Claire’s Knee
Genre: psychological comedy
Director: Éric Rohmer
Release: 1970
Studio: Les Films du Losange
Background material on Éric Rohmer: bloomberg.net
Rating: –
MBiS score: 8.0/10


Dietrich Was Right… You Can Be Both An Intellectual And A Pervert


In the late 70s and early 80s, one of the best comedies on TV was BARNEY MILLER, which featured a squad of NYPD detectives and the cases they were assigned to solve. Though its stories almost exclusively took place in one cramped and dingy precinct office and were based on personal interaction between its regular characters, I never found it boring. Among the cops, my favourite was Arthur Dietrich, the conspicuously clever one who often got on his colleagues’ nerves. The title of this review refers to one episode in which a woman had laid indecency charges against a college professor and the prof had protested to Dietrich that he was a ‘scholar’. Dietrich’s retort, as hinted above, was less than supportive for the alleged offender.

LE GENOU DE CLAIRE is our first foray into the late Éric Rohmer’s film universe and, if you’ve heard about him, you’ll understand my reference to BARNEY MILLER. In a typical Rohmer, sets are of little importance, dialogues drive the plot much more than concrete action and story-lines feed on character psychology and personal interaction. Overall, this director kept his dramas light and his comedies refined, thus authoring films that some people will find tediously genteel but others quite wise and rewarding. Among the handful I have seen, my top choice remains MA NUIT CHEZ MAUD but the perverse LE GENOU DE CLAIRE is a fine introduction to Rohmer’s original style of moviemaking.

Generally speaking, LE GENOU DE CLAIRE goes like this. Jérôme (Jean-Claude Brialy), a French diplomat posted in Sweden, returns to his homeland to settle personal matters. In the process, he hitches up with Aurora (Aurora Cornu), a novelist and dear friend, who introduces him to Mrs. Walter (Michèle Montel) and her family. Feelings of love will soon be revealed… in addition to an ardent, unsettling attraction that should be left unexplained for now.

In this dryly funny picture, what stands out is the rapport between Aurora and Jérôme who discuss and analyze his obsession (?) as if they were psychiatrist and patient. To some, their tête-à-têtes will probably seem static and stilted but, to art film fans and francophiles in particular, they serve as a dandy illustration of that legendary Gallic sense for argumentation… and a mighty peculiar way to tickle the viewer. While you sit there, privy to all of that pensiveness, poetry and plotting, you really wonder where it will all lead you. Better yet, you’ll find yourself entangled in one of those small-scale mysteries that Rohmer relished so much and recounted on screen with intriguing and even mesmerizing results.

If you like your acting flamboyant and noisy, you will be disappointed with LE GENOU DE CLAIRE. Such a quiet film required restraint from its cast, which is exactly what it got from the trio above and also from Béatrice Romand, Gérard Falconetti, Laurence de Monaghan and Fabrice Luchini; however, since the story revolves around Jérôme, expect to see a lot of Jean-Claude Brialy who is brilliant as an earnest-looking but shifty fellow. Production values are satisfying and sober. As for Rohmer’s direction and writing, I see no reason to complain; when I think of many recent movies that have been hyped as great works but are really defective or worthless, I can only admire a creator capable of turning trivial-seeming events into appealing little stories so attuned to our human condition. Such is the miracle of cinema and I can testify to its power.

Has my review been fair enough? I do hope so and, since we’re friends, I won’t hold it against you if you choose not to see this film. Nevertheless, I wholeheartedly recommend LE GENOU DE CLAIRE to anyone who loves logical comedies and polished entertainment. I’ll admit that Rohmer’s brand of filmmaking is an acquired taste but it’s a taste no one can acquire without starting somewhere. Here’s to Jean-Marie Maurice Schérer (1920-2010), a pioneer of the French ‘new wave’ and a director François Truffaut respectfully called ‘our master’.


MBiS

© 2010 – All rights reserved