Streetcar Named Desire (A)

Genre: psychological drama (in black and white)

With: Vivien Leigh (Blanche DuBois), Marlon Brando (Stanley Kowalski), Kim Hunter (Stella DuBois Kowalski), Karl Malden (Harold ‟Mitch” Mitchell), Rudy Bond (Steve Hubbell), Peg Hillias (Eunice Hubbell), Nick Dennis (Pablo Gonzalez)

Director: Elia Kazan

Screenplay: Tennessee Williams (from his play, adapted by Oscar Saul)

Release: 1951

Studio: Charles K. Feldman Group, Warner Bros.

Rating: PG

MBiS score: 8.8/10 

 

The Kindness of Strangers 

 

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Story-line: Blanche, elegant and insecure, has just arrived in New Orleans and seems lost among the crowd at the train station. With the help of a seaman, she reaches Elysian Fields where she is to reunite with her sister Stella after several years of separation. Finding her sibling at the neighbourhood bowling alley, Blanche is reassured – although disappointed to see Stella living in a working-class milieu – but her real challenge will be getting along with Stanley, her new brother-in-law, an earthy and intimidating fellow.

Pluses: richly nuanced, full-ranged performances by Vivien Leigh (a fancy, talkative and complicated Blanche), Marlon Brando (as the crude and violent Stanley), Kim Hunter (a lovestruck Stella) and Karl Malden, fine support from a good cast, masterly direction, a vivid, unsparing screenplay that sets up a psychological battle filled with innuendo, spot-on repartees and classic moments in cinema, able cinematography, appropriate production values and a strong ending.

Minuses: be warned that some sequences, albeit in no way obscene, are imbued with sexual meaning. 

Comments: A STREETCAR NAMED DESIRE paints the stunning portrait of two souls instinctively in awe of each other: the multi-faceted Blanche – a woman as charming as she is infuriating, traumatized and troublesome – and Stanley, her enemy in life but a man she can’t help admiring on a certain level. And their clashes are only aggravated by the heat, squalor and promiscuity ambient. Entrusted with Tennessee Williams’ Pulitzer Prize-winning play – a mesmerizing story about love, family crises, secrets revealed and the ruthlessness of life –, Elia Kazan has fashioned a milestone movie with the help of thespians among the best in cinematic history. The honours showered upon this one-of-a-kind motion picture (4 Oscar wins and 8 other nominations at the 1952 Academy Awards) are proof positive of its value as a work of art. Stella-a-a-a!!! 

 

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 Homme qui aimait les femmes (l’) 

English title: The Man Who Loved Women

Also known as: The Man Who Loved Love

Genre: comedy drama    

With: Charles Denner (Bertrand Morane), Brigitte Fossey (Geneviève Bigey), Nelly Borgeaud (Delphine Grézel), Geneviève Fontanel (Hélène), Leslie Caron (Véra), Nathalie Baye (Martine Desdoits), Valérie Bonnier (Fabienne), Jean Dasté (Doctor Bicard), Sabine Glaser (Bernadette), Monique Dury (Mrs. Duteil), Nella Barbier (Liliane),  Marie-Jeanne Montfajon (Christine, Bertrand’s mother)

Director: François Truffaut

Screenplay: Michel Fermaud, Suzanne Schiffman, François Truffaut

Release: 1977

Studio: Les Films du Carrosse, Les Productions Artistes associés, Metro Goldwyn Mayer

Rating: -

MBiS score: 8.4/10 

 

Oh-oh, catch that buzz

Love is the drug I'm thinking of

Oh-oh, can't you see?

Love is the drug for me* 

 

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Story-line: Montpellier, 1976. When the hearse carrying Bertrand Morane’s coffin enters the cemetery, it is followed by two dozen mourners… all of them women. They walk in silence, apparently grateful to have known the deceased who was an engineer, a novice writer and, most of all, a ladies’ man... a charming,  sweet-talking, insatiable lover.

Pluses: a stupendous performance by Charles Denner (as the intense, serious Bertrand), excellent support from a cast of wonderful ladies, alert, world-class direction, a creative and witty screenplay notable for its varied characters, human insights, precise dialogues and Truffaut mannerisms, fine cinematography, aesthetic production values, a discreet musical score and an ending true to Bertrand’s spirit.

Minuses: none I can think of.

Comments: despite his infidelities, Bertrand is far from a cad; in fact, he even shows a vulnerable streak that makes him all the more human. Out of a slight premise, François Truffaut and team have delivered such an enlightening, analytical and entertaining statement about men, women and the creative process that I was thoroughly amazed by it all. Beautiful, subtle and enchanting, THE MAN WHO LOVED WOMEN is a treat, especially for fans of French cinema. Few directors could have pulled this off as magnificently as our beloved Truffaut. 

 

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*Love Is the Drug, by Roxy Music. Bryan Ferry and Andrew McKay, composers.

Man on Wire

 

Genre: documentary

With: Philippe Petit, Jean-François Heckel, Jean-Louis Blondeau, Annie Allix, David Forman, Alan Welner, Mark Lewis, Barry Greenhouse, Jim Moore and Guy F. Tozzoli (as themselves)

Director: James Marsh

Screenplay: Philippe Petit (based on his book)

Release: 2008

Studio: Discovery Films, BBC Storyville, UK Film Council

Rating: PG-13

MBiS score: 8.7/10

  

Don’t Even Consider It! 

 

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Story-line: France in the 1970s. After walking a tightrope above Notre-Dame Cathedral in Paris and Harbor Bridge in Sydney, Philippe Petit sets his sights on an even more challenging landmark in the Big Apple.

Pluses: Philippe’s mesmerizing insights about life and his search for personal fulfillment, splendid support from a likeable and candid group of participants, excellent, laser-precise direction, a brilliant, non-linear screenplay that uses vivid stock footage, fictional recreations and profound commentary to weave a surprising and suspenseful story, very good cinematography, fine production values and a topical musical score.

Minuses: indirectly, MAN ON WIRE serves as a bittersweet memorial of the World Trade Center when it stood supreme in the New York City skyline.

Comments: both hair-raising and overwhelming, MAN ON WIRE immortalizes an astounding feat by a wonderful magician and athlete who dared to dream something impossible and worked obsessively to make it happen, with the help of his amazing creativity, his resilience to pressure, a dedicated team around him and a little bit of luck. In James Marsh’s masterly and humanistic documentary, you will meet the man on a wire, admire his prowess and determination, understand how he came to see the Twin Towers as a crowning achievement. This work of poetry, an obvious Best Documentary winner at the Oscars, is one of those priceless films movie buffs live for. 

 

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Darbareye Elly

English title: About Elly

Genre: psychological drama

With: Taraneh Alidoosti (Elly), Golshifteh Farahani (Sepideh), Shahab Hosseini (Ahmad), Merila Zare'i (Shohreh), Mani Haghighi (Amir), Payman Maadi (Peyman), Ra'na Azadivar (Naazi), Ahmad Mehranfar (Manoochehr), Saber Abar (Alireza)

Director: Asghar Farhadi

Screenplay: Asghar Farhadi (with the possible participation of A. Jafarian)

Release: 2009

Studio: Dreamlab

Rating: TV-PG

MBiS score: 8.7/10 

 

Is There Such a Thing as an Innocent Lie? 

 

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Story-line: it’s that time of year again… the old gang from law school is heading for the shores of the Caspian Sea. Gang members are (1) Sepideh, the organizer, who leads the pack with husband Amir and daughter Morvarid; (2) Shohreh, hubby Peyman and their two children Arash and Anita; and (3) Naazi with her husband Manoochehr. This year, however, there’s more to the trip than rest and recreation… Sepideh has invited Elly, her daughter’s kindergarten teacher, so she can meet Naazi’s brother, Ahmad, who is back from Germany for a rare visit. Love is in the air, you see…

Pluses: superb, natural-looking performances by an engaging group of actors (I won’t single out anyone because they are all fantastic, including the children), seamless and astoundingly precise direction, a complex, well-structured and riveting screenplay rich in psychological insights, character interplay and telling dialogues (Elly’s conversation with Ahmad on their way back from errands is simply exquisite), very attractive cinematography, fine editing, realistic production values and a startling ending.

Minuses: even though ABOUT ELLY is interesting from the get-go, the characters and story-line confused me early on. If this happens to you, stop at the 30-minute mark and replay that first segment; you will notice small but important details and better appreciate this great movie. For good measure, I watched the whole thing twice… and I can confirm that everything fits. 

Comments: ABOUT ELLY begins innocently enough – close friends travel to the seaside, have fun together and watch their guests as they forge a relationship – but an unexpected event will spell tragedy for all. Discussions and arguments ensue, lies are told for whatever reason and things get harder and harder to figure out. From such a dramatic story about relationships – and the fateful shortcuts we sometimes take in life –, Asghar Farhadi has spun a stunning film anchored by superb acting and a screenplay as rigorous as a world-class ballet. It all comes down to one question asked by Alireza and, when the answer comes, it will leave him – and all of us watching – utterly speechless. From one frame to the next, ABOUT ELLY is flawless cinema. 

 

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 La caduta degli dei (Götterdämmerung)

English title: The Damned

Also known as: Damnés (les)

Genre: period and war drama  

With: Dirk Bogarde (Friedrich Bruckmann), Ingrid Thulin (Baroness Sophie von Essenbeck), Helmut Griem (Aschenbach), Helmut Berger (Martin von Essenbeck), Renaud Verley (Günther von Essenbeck), Umberto Orsini (Herbert Thallman), Charlotte Rampling (Elisabeth Thallman), Reinhard Kolldehoff (Baron Konstantin von Essenbeck), Albrecht Schoenhals (Baron Joachim von Essenbeck), Florinda Bolkan (Olga), Nora Ricci (Governess), Irina Wanka (Lisa Keller)

Director: Luchino Visconti

Screenplay: Nicola Badalucco, Enrico Medioli and Luchino Visconti

Release: 1969

Studio: Praesidens, Pegaso Cinematografica, Italnoleggio Cinematografico, Warner Bros. Pictures

Rating: 14A

MBiS score: 8.8/10 

 

‟We are an elite society where everything is permissible.” 

 

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Story-line: in February 1933, Joachim von Essenbeck, the powerful head of Essenbeck Steel Works, invites his family to celebrate his birthday at Kleisburg Castle. At first, everything goes rather well until a news event – the burning of the Reichstag – rattles some nerves. Then, at the dinner table, tempers flare up again when Joachim announces that ESW, a well-known arms manufacturer, will cooperate more closely with the Nazis. The stage is set for a fierce battle among the Essenbecks… on a personal, corporate and political level.

Pluses: intense acting by Dirk Bogarde (the ambitious Friedrich), Helmut Berger (a conflicted Martin), Ingrid Thulin (as the passionate yet cold Sophie), Helmut Griem (the merciless Aschenbach) and Reinhard Kolldehoff (a ruthless Konstantin), formidable direction by one of the all-time greats, a full, twisty and relentless screenplay combining fiction and historical events to achieve a biting, monstrous narrative, excellent cinematography and editing, luxurious production values and an effective musical score that goes from the exquisite and sensuous to the dramatic and grotesque.

Minuses: the first time I watched THE DAMNED, I quit after 10 minutes or so because I got the characters all mixed up. The following guide may seem fastidious but it will allow you to distinguish the main characters from the first moment they appear on screen: 

(1) the man taking a bath is Konstantin, Joachim’s eldest son and young Gunther’s father; Konstantin is a member of the SA (a Nazi militia);

(2) the little girl is Thilde, daughter of Elisabeth and Herbert (their other daughter is Erika);

(3) Thilde will run over to see Gunther playing his cello;

(4) next, we meet Joachim, the family patriarch, who is seen kissing a picture of his aviator son who died at war;

(5) the couple discussing politics and family matters in a bedroom are Elisabeth, Joachim’s niece, and her husband Herbert, an ESW executive;

(6) the two men driving over to Kleisburg Castle are Aschenbach (a member of the SS) and Friedrich (a manager at ESW). You will hear them exchange pointed views on political issues, corporate matters and Friedrich’s lover, Sophie);

(7) at the castle, a show is given in Joachim’s honour; after Gunther’s cello piece, Martin (Sophie’s son) sings for the guests;

(8) finally, we see Sophie looking on, enjoying her son’s performance; she is the aviator’s widow.

Comments: all the glamour that dazzles the eye in the opening scenes will fade away to reveal the tawdry goings-on in the Essenbeck empire. I have read somewhere that a parallel can be drawn between this movie and another great Visconti work, THE LEOPARD; true, both films feature aristocratic families at a turning point but THE LEOPARD is sophisticated and philosophical in tone and content while this one is a festival of deceit, decadence, death and despair, a mean-spirited soap opera in which most characters are despicable yet interesting. THE DAMNED is a clear vision of hell and the quote above is only a hint of the family nightmares you will uncover. 

 

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Picnic at Hanging Rock

Genre: mystery drama

With: the Appleyard College staff: Rachel Roberts (Mrs. Appleyard), Vivean Gray (Miss Greta McCraw), Helen Morse (Mlle. de Poitiers), Kirsty Child (Miss Lumley); the  schoolgirls: Anne-Louise Lambert (Miranda St Clare), Karen Robson (Irma), Jane Vallis (Marion Quade), Christine Schuler (Edith), Margaret Nelson (Sara Waybourne); other important characters: Wyn Roberts (Sgt. Bumpher), Dominic Guard (Michael Fitzhubert), John Jarratt (Albert Crundall)

Director: Peter Weir

Screenplay: Cliff Green (based on Joan Lindsay’s novel)

Release: 1975

Studio: British Empire Films Australia, South Australian Film Corporation, Australian Film Commission et al.

Rating: PG

MBiS score: 8.3/10 

 

‟You must learn to love someone else, apart from me, Sara.”

 

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Story-line: we find ourselves in the state of Victoria (Australia) on February 14, 1900. It’s a glorious day outside and the white-clad schoolgirls of Appleyard College are looking forward to their Valentine’s Day picnic at Hanging Rock. Once at the site, the girls are joyful, most of them feel pleasantly indolent but Marion is eager to take measurements at the base of the rock. With permission from one of the College chaperones, she wanders off with Irma, Miranda the poet and a reluctant Edith but none of them – and no one in the Appleyard party – really knows how this will all turn out.

Pluses: fine acting by an evenly able cast (especially an austere Rachel Roberts), flawless direction, a strange, dramatic yet delicate screenplay strong on atmosphere, effective dialogues and tension-building, splendid cinematography, aesthetically-inclined production values (almost obsessively so at first), a varied, mood-inducing musical score and a moment-of-truth ending that wisely leaves a few loose ends untied.

Minuses: the movie’s beginning is slow and a bit annoying but all of this is part of the set-up… be patient!

Comments: PICNIC AT HANGING ROCK is a two-sided movie. At first, it feels dreamlike, sensuous and excessively mannered – reflecting the schoolgirls’ expectations as they leave stuffy old Appleyard College – but this changes radically at the 35-minute mark when the film’s true intent and the rock’s almost blinding attraction become apparent. From then on, a chain reaction is unleashed, a series of events to which people respond in sometimes appalling ways. A strong sense of mystery floats over this skilful and original exercise in style, Peter Weir’s second try at direction. Not everything is revealed… but no explanations are necessary. This movie is spooky enough as it is.  

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Trial (The)

Also known as: Procès (le)

Genre: dystopian drama (in black and white) 

With: Anthony Perkins (Josef K.), Arnoldo Foà (Inspector A), Jess Hahn (Second Assistant Inspector), Madeleine Robinson (Mrs. Grubach), Jeanne Moreau (Marika Burstner, a lodger), Naydra Shore (cousin Irmie), Suzanne Flon (Miss Pittl, the Lady dragging a trunk), Max Buchsbaum (the Examining Magistrate), Max Haufler (Uncle Max), Romy Schneider (Leni, the Advocate’s nurse), Orson Welles (Albert Hastler, the Advocate and Narrator), Akim Tamiroff (Bloch the Advocate’s client), Elsa Martinelli (Hilda, the Court employee), Thomas Holtzmann (Bert the Law Student), Wolfgang Reichmann (the Courtroom Guard), William Chappell (Titorelli), Michael Lonsdale (the Priest)

Director: Orson Welles

Screenplay: Pierre Cholot (adaptation) and Orson Welles, based on Franz Kafka’s novel

Release: 1962

Studio: Paris-Europa Productions; Hisa Films et al.

Rating: -

MBiS score: 8.8/10 

 

‟It seems you are under arrest, Mr. K.” 

 

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Story-line: the setting is a grey, nameless and foreboding city. Josef K., a lodger in Mrs. Grubach’s building, wakes up one morning as police inspectors enter his room to conduct a search. Bombarded with questions, he wonders aloud what this is all about. Has he done anything against the law? And, if so, who is accusing him?

Pluses: mighty performances by Anthony Perkins (showing great range as the nervous but courageous Josef) and a top-flight supporting cast (a sombre Jeanne Moreau, a naughty Romy Schneider, a quiet yet menacing Orson Welles and a suspicious-looking Elsa Martinelli), brisk direction, a flawless, mesmerizing screenplay that looks nonsensical but proves otherwise, abundant, rapid-fire dialogues either whispered, calmly delivered or shouted out, overwhelming visuals and production values (cold, oppressive sets and locations), a musical score mostly based on Albinoni’s Adagio and a potent ending.

Minuses: none… but watching this movie is no picnic, considering its subject matter.  

Comments: how can you make a predictably dry, depressing, even maddening movie that is still watchable from beginning to end? Orson Welles managed it with the help of a fascinating cast, strange locales, far-out cinematography, a few oddball or darkly funny moments and a thought-provoking story set in a world very different yet strikingly close to ours. An astounding feat and a masterpiece by one of the truly great moviemakers! Josef K.’s quest for answers is either brilliantly absurd or absurdly brilliant. I’ll let you decide… 

 

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Argent des autres (l’)

Genre: workplace drama

With: Jean-Louis Trintignant (Henri Rainier), Catherine Deneuve (Cécile Rainier), Claude Brasseur (Claude Chevalier d'Aven), Michel Serrault (Miremont), Gérard Séty (De Nully), Jean Leuvrais (Helldorf), François Perrot (Vincent), Umberto Orsini (Blue), Michel Berto (Duval), Francis Lemaire (Torrent), Juliet Berto (Arlette Rivière), Michel Delahaye (Bignon)

Director: Christian de Chalonge

Screenplay: Pierre Dumayet and Christian de Chalonge (adapting Nancy Markham’s novel)

Release: 1978

Studio: Fildebroc, Société Française de Production et de Création Audiovisuelles, Les Films de la Tour et al.

Rating: -

MBiS score: 8.4/10 

 

‟When they fired me, they shook my hand and thanked me. How about you?”

  

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Story-line: having been summarily dismissed by the Miremont De Nully Helldorf Bank, Henri Rainier goes to a recruitment agency for help. He explains that he quit his job for moral reasons and that, as a loan officer, he had little say about which clients the bank would accept as borrowers. During a second interview, he admits that he lied initially and that he lost his job because of a messy matter involving a high-profile client. What is behind all this? Does Henri really know?

Pluses: solid acting by Jean-Louis Trintignant (as a distressed man fighting for his professional life), convincing performances by a cold Michel Serrault, a stalwart Catherine Deneuve (in a crucial role) and Claude Brasseur (as a risk-taking entrepreneur), irreproachable direction, an intelligent and increasingly tense screenplay that nurtures a real sense of paranoia and features a splendid bunch of villains, impressive cinematography, fine production values, an anxiety-driven musical score and an appropriate conclusion. 

Minuses: the screenplay may seem unfocused at one point – as it shows Henri’s equally unfocused attempts at vindication – but one glorious turn of events gives it renewed energy and urgency. Some movies hinging on complex financial maneuvers are confusing but this one isn’t; it posits rather clearly how Henri found himself in a devilish situation. As for the title, it simply means ‟Other People’s Money”.

Comments: a winner of 2 Césars (Best Film and Best Director) and the Prix Louis-Delluc, L’ARGENT DES AUTRES is a soulless but realistic and useful illustration of white-collar mischief. In some ways, it even prefigured real-life financial scandals that would come to the fore later on, notably during the Great Financial Crisis. As such, it gives a valuable lesson and a warning to all employees who see their rights in the workplace threatened or thwarted.   

 

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Oldeuboi

English title: Oldboy

Genre: action drama

With: Choi Min-sik (Dae-su Oh), Yoo Ji-tae (Woo-jin Lee), Kang Hye-jeong (Mi-do), Kim Byeong-Ok (Mr. Han), Ji Dae-han (No Joo-hwan), Oh Dal-su (Park Cheol-woong), Seung-shin Lee (Yoo Hyung-ja), Jin-Seo Yoon (Lee Soo-ah)

Director: Park Chan-wook

Screenplay: Park Chan-wook, Joon-hyung Lim and Jo-yun Hwang (based on the manga by Garon Tsuchiya and Nobuaki Minegishi)

Release: 2003

Studio: Celsius, ShowEast and Egg Films

Rating: R

MBiS score: 8.6/10 

 

‟Laugh… and the world laughs with you. Weep… and you weep alone.” 

 

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Story-line: in 1988, a happily married man named Oh Dae-su is arrested for drunkenness on his daughter’s third birthday and annoys everyone at the police station with his disorderly conduct. Once released under the care of his friend No Joo-hwan, Dae-su stops to call his family from a phone booth and suddenly disappears… for reasons unknown.

Pluses: excellent acting by a fine cast and especially Choi Min-sik (one scene in which he sings and cries at the same time is simply amazing), fast-paced, masterful direction, a complex, twisted and surrealistic screenplay remarkable for its startling characters and catchy dialogues, consummate cinematography and fantastic editing, utterly effective production values and a varied, devilishly efficient musical score.

Minuses: don’t be confused by the rooftop sequence at the very beginning… it makes perfect sense once you reach the 20-minute mark. Some scenes may be painful to watch, especially for professionals in dentistry. 

Comments: the lively, awesome and ceaselessly creative OLDBOY nurtures a strong sense of mystery and delivers terrifying, edge-of-your-seat entertainment. Dae-su’s dark and dangerous quest for revenge, which was rewarded with the Grand Prize at Cannes and multiple awards internationally, is a must-see for all movie buffs. 

 

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 I Want to Live!

Genre: crime drama (in black and white)

With: Susan Hayward (Barbara Graham, a.k.a. Bonnie), Simon Oakland (Edward S. ‟Ed” Montgomery), Virginia Vincent (Peg), Theodore Bikel (Carl G.G. Palmberg), Wesley Lau (Henry Graham), Philip Coolidge (Emmett Perkins), Lou Krugman (John R. ‟Jack” Santo), James Philbrook (Bruce King), Bartlett Robinson (District Attorney Milton), Gage Clarke (Tibrow), Peter Breck (Ben Miranda), Marion Marshall (Rita), Joe De Santis (Matthews)

Director: Robert Wise

Screenplay: Nelson Gidding and Don Mankiewicz (based on Ed Montgomery’s newspaper articles and Barbara Graham’s letters)

Release: 1958

Studio: MGM, Figaro Incorporated, Walter Wanger Productions

Rating: 14A

MBiS score: 8.4/10 

 

It All Comes Back to Haunt You

  

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Story-line: with her friend Peg at her side, good-time girl Barbara Graham lives an exciting, mischievous life soliciting johns, dodging the police, kiting cheques and committing perjury. It seems that even reasonable advice can’t pull her out of the spiral she’s fallen into. Will it ever stop?

Pluses: a remarkable and versatile performance by a dominant Susan Hayward (as the wisecracking, quarrelsome Barbara), an excellent supporting cast, lively, efficient direction, an interesting and intelligent screenplay memorable for its pungent dialogues, surprising twists and striking scenes, useful cinematography, fine production values and a superb musical score played by world-renowned jazzmen.

Minuses: none I can think of.

Comments: it takes a lot of gumption for an actress to play a troublemaking dame who also elicits admiration and Susan Hayward pulled it off so perfectly that she won an Oscar for her turn as a woman who left no man indifferent – even the cynical Montgomery who had seen just about everything as a journalist. I WANT TO LIVE! is an intriguing, true-to-life story about crime, friendship, rebelliousness, sensationalism and betrayal. Moreover, it is a sad spectacle about human behaviour and the concept of justice in our world.  

 

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