Becket 

Genre: historical drama 

With: Richard Burton (Thomas Becket), Peter O'Toole (King Henry II), Donald Wolfit (Bishop Folliot), David Weston (Brother John), Sir John Gielgud (King Louis VII of France), Martita Hunt (Empress Matilda, Henry’s mother), Pamela Brown (Queen Eleanor of Aquitaine, Henry’s wife), Gino Cervi (Cardinal Zambelli), Paolo Stoppa (Pope Alexander III), Percy Herbert (Baron), Siân Phillips (Gwendolen), Inigo Jackson (Robert de Beaumont), Felix Aylmer (Archbishop of Canterbury)

Director: Peter Glenville

Screenplay: Edward Anhalt (based on Jean Anouilh’s play, translated by Lucienne Hill)

Release: 1964

Studio: Paramount Pictures, Keep Films

Rating: PG-13

MBiS score: 8.6/10 

 

‟Oh Lord, how heavy thy honor is to bear.” 

 

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Story-line: circa 1170, some 104 years after William the Conqueror and his Norman armies seized England and began oppressing its Saxon population, his great grandson Henry II sits uneasily on the throne. Denounced and humiliated, he travels reluctantly to Canterbury in order to make peace with his deceased Saxon friend, Thomas Becket, the former Archbishop with whom he had quarreled on issues of great import.   

Pluses: superb acting by Richard Burton (as a serious, humble Becket) and Peter O’Toole (a scheming, fiery Henry), a fine supporting cast, a virile and very credible screenplay characterized by the gravity of its subject, acute dialogues and moments of cinematic magic (one symbolic scene begins under blue skies and ends under cloud cover as Thomas and Henry forge a fragile truce), first-rate cinematography, impressive production values and an imposing musical score.

Minuses: if this strong movie doesn’t captivate you from the start, don’t despair! Things pick up admirably around the 28-minute mark.

Comments: BECKET is a hefty film rich in drama, ideas and ideals, a fitting example of English historical cinema (although based on a French play, no less!). In spite of their closeness, you can always sense a latent antagonism between our protagonists, a discord that will be set ablaze when Henry bestows on his friend an honor that would weigh heavily on anyone, even the noble Thomas Becket. As the great Saint Augustine once said, “There is no saint without a past, no sinner without a future”. Thomas Becket certainly answers to this quintessential description. 

 

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Ascenseur pour l’échafaud

English title: Elevator to the Gallows

Genre: suspense film (in black and white)

With: Jeanne Moreau (Florence Carala), Maurice Ronet (Julien Tavernier), Georges Poujouly (Louis), Yori Bertin (Véronique, Louis’s girlfriend), Jean Wall (Simon Carala, Florence’s husband), Iván Petrovich (Horst Bencker), Elga Andersen (Frieda Bencker), Lino Ventura (Cherrier)

Director: Louis Malle

Screenplay: Roger Nimier, Louis Malle and Noël Calef (based on Calef’s novel)

Release: 1958

Studio: Nouvelles Éditions de Films

Rating: -

MBiS score: 8.7/10

 

 

Basic Math for Extramarital Affairs: 3 - 1 = 2 

 

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Story-line: from a phone booth somewhere in Paris, Florence contacts her lover Julien, who is still working on this Saturday evening, and tells him how eager she is to see him. ‟When it’s done, she says, you’ll come in your big car… I’ll get in next to you… and we’ll be free.” The ‟it” she is referring to is the murder of Simon Carala, her husband and Julien’s boss.

Pluses: fine acting by an ardent Jeanne Moreau, a cool and calculated Maurice Ronet and a solid cast, a deliberate, chilling screenplay that uses snippets of humour to balance out its gravity and keeps its best moments for the final act, stylish direction by a top-notch helmer, Henri Decaë’s superb monochrome cinematography, quality production values, a marvellous musical score by Miles Davis and an explosive ending.

Minuses: none I can think of.

Comments: this stunning film recounting one eventful weekend in and around Paris is remarkable not only for its potent drama but also for its treatment of Jeanne Moreau’s status as a cinematic sex symbol. In scenes that pop up like running gags at different stages of the movie, you will notice that (1) wherever she goes, people can’t help staring at her and (2) when you see her walking, even in dire circumstances, she doesn’t seem particularly hurried (nobody rushes Madame Moreau, capisce?). The hypnotizing ASCENSEUR POUR L’ÉCHAFAUD, a masterwork by one of the main proponents of the nouvelle vague, is intriguing, arty and memorable. Love, whether adult or adolescent, can be a very dangerous thing.

 

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Don’t Look Now

Genre: horror movie

With: Julie Christie (Laura Baxter), Donald Sutherland (John Baxter), Hilary Mason (the visually impaired Heather), Clelia Matania (Wendy, Heather’s sister), Massimo Serato (Bishop Barbarrigo), Renato Scarpa (Inspector Longhi), Leopoldo Trieste (the Hotel Manager), Nicholas Salter (Johnny Baxter), Sharon Williams (Christine Baxter), David Tree (Anthony Babbage), Ann Rye (Mandy Babbage)

Director: Nicolas Roeg

Screenplay: Allan Scott and Chris Bryant (based on a story by Daphne Du Maurier)

Release: 1973

Studio: Casey Productions, Eldorado Films, D.L.N. Ventures Partnership, Paramount

Rating: R

MBiS score: 8.5/10

 

 

In memory of Donald Sutherland (1935-2024) 

 

‟She is dead! Dead, dead, dead, dead, dead!” 

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Story-line: after the death of their daughter Christine at home in England, John and Laura Baxter send their son Johnny to the Babbage boarding school and leave for Venice where John has been hired to restore a 16th century church. Logically, a change of scenery should soothe them as grieving parents… but brute logic has little to do with what’s coming their way.

Pluses: excellent acting by Julie Christie (a vulnerable Laura), Donald Sutherland (the anxious and frustrated John) and a fine cast in less-than-reassuring roles, competent and very guarded direction, an original and unpredictable screenplay that cultivates a strange and ominous mood, high-quality production values, superior cinematography (Anthony B. Richmond makes Venice looks great but also dark and spooky), very effective editing (Graeme Clifford), a scary musical score by Pino Donaggio and a startling ending.

Minuses: although it is usually labelled as a horror movie, DON’T LOOK NOW also deals with paranormal phenomena.  

Comments: this movie’s great strength is its skilful buildup of tension. After a tragic opening, it sets a quiet mood, traces psychological portraits of its characters and then uses a series of events – either meaningless, inexplicable or important – to set the stage for a stunning third act. Unlike run-of-the-mill slasher movies that are long on carnage but short on value, the subtle and persistent DON’T LOOK NOW is disturbing because it remains anchored in reality. This is accomplished cinema, no doubt about it.

  

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M – Eine Stadt sucht einen Mörder

English title: M

Also known as: M le maudit

Genre: crime thriller (in black and white)

With: Gustaf Gründgens (Schränker the Safecracker), Peter Lorre (Hans Beckert), Otto Wernicke (Inspector Lohmann), Ellen Widmann (Frau Beckmann), Inge Landgut (Elsie Beckmann), Theodor Loos (Inspector Groeber), Friedrich Gnaß (Franz the burglar), Fritz Odemar (the Cheater), Paul Kemp (the Pickpocket with Six Watches), Georg John (Heinrich, the blind beggar), Rudolf Blümner (the defender)

Director: Fritz Lang

Screenplay: Thea von Harbou and Fritz Lang (based on an article by Egon Jacobson)

Release: 1931

Studio: Nero-Film AG

Rating: -

MBiS score: 9.0/10 

 

Maniacs Are Bad for Business 

 

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Story-line: when several children disappear and it becomes apparent that a serial killer is on the loose, the government pressures the police commissioner to get results, arrests are made willy-nilly and impatience grows among the citizenry.

Pluses: credible acting all around, modern and active direction, an ingenious, well-written screenplay rich in suspense, pointed dialogues and effective tos-and-fros, able cinematography and editing, good production values and a high-impact ending.

Minuses: if this film doesn’t click for you early on, it will once you reach the halfway point.

Comments: teaming up with Thea von Harbou, his screenwriting partner for the great METROPOLIS, Fritz Lang (1890-1976) proves with this formidable film that inventive and captivating moviemaking already ruled a century ago. What struck me most in M is that its story-line focuses less on the killer – he is identified early on but remains in the shadows until the third act – than on the reaction to his crimes and the frantic attempts to stop him. As I reflect on this work of art, I am reminded of a comment made by Paul Schrader a few years back… that most commercial films are devoid of interest. Considering Schrader’s vast contribution to cinema, I respect his opinion and share his love for the classics. More than a movie, M is a marvel, a monument, a masterpiece. 

 

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Metropolis

Genre: futuristic fable (silent, in black and white)

With: Gustav Fröhlich (Freder Fredersen), Brigitte Helm (Maria/Machine Man), Alfred Abel (Johann ‟Joh” Fredersen, Freder’s father),  Rudolf Klein-Rogge (C.A. Rotwang, the inventor), Fritz Rasp (the Thin Man), Theodor Loos (Josaphat), Erwin Biswanger (Georgy, number 11811), Heinrich George (Grot, Guardian of the Heart Machine)

Director: Fritz Lang

Screenplay: Thea von Harbou and Fritz Lang (based on Thea’s novel)

Release: 1927

Studio: Universum Film (UFA)

Rating: G

MBiS score: 9.1/10 

 

‟Head and hands need a mediator.” 

 

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Story-line: Freder, whose father rules the great and modern Metropolis, realizes that he owes his pampered lifestyle to a worker underclass slaving away beneath the surface of the city.   

Pluses: convincing performances by Gustav Fröhlich, Brigitte Helm, Alfred Abel and a reliable cast, formidable direction by one of cinema’s greatest helmers, a faultless, very active and well-developed screenplay imbued with symbolism and moral undertones, amazing visuals and special effects, imaginative production values (notice those art deco stylings), an evocative musical score that supports the action and a breathless final act.

Minuses: METROPOLIS doesn’t meet today’s moviemaking standards – along the way, it was altered by misdirected hands – but zealous restoration work has saved it from the brink and made it very watchable. The fact that this is a silent movie doesn’t detract from its value; in my mind, it was probably as demanding on actors as talkies would be later on.

Comments: visually astonishing, intellectually stimulating and always captivating, METROPOLIS illustrates the struggle between good and evil, light and darkness, altruism and thirst for power. In our age that glorifies everything that has come out in the last fifteen minutes and easily forgets the rest, it may seem unpalatable to sit down and watch a century-old movie like this one but, once you get down to it, you will understand why this particular picture has been hailed as one of the greatest ever made. Fritz Lang and crew have produced something colossal, magical and admirable, a milestone in cinematic history.      

 

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Cercle rouge (le)

Genre: crime thriller

With: Alain Delon (Corey), Bourvil (Commissioner François Mattei), Gian Maria Volontè (Vogel), Yves Montand (Jansen), Paul Crauchet (the middleman), Paul Amiot (the Inspector general), Pierre Collet (the prison guard), André Ekyan (Rico), Jean-Pierre Posier (Mattei’s assistant), François Périer (Santi)

Director: Jean-Pierre Melville

Screenplay: Jean-Pierre Melville

Release: 1970

Studio: Corona, Comacico, Euro International Films

Rating: -

MBiS score: 8.6/10 

 

In memory of Alain Delon (1935-2024)

 

‟All men are guilty. They're born innocent, but it doesn't last.” 

 

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Story-line: in Marseille, a dangerous criminal named Vogel is transferred by train under the surveillance of Commissioner Mattei. Meanwhile, a convict named Corey is offered an interesting ‟job” by a prison guard hours before his release. Fate, it seems, has decided that Vogel and Corey will meet in the ‟red circle” and team up for an audacious heist in Paris.

Pluses: a formidable cast generating lots of star power (Alain Delon playing a cool villain, Gian Maria Volontè as his intense partner, Yves Montand with his usual aura and a convincing Bourvil playing the self-assured Mattei), impeccable direction by a master of suspense, a taut, strongly atmospheric screenplay that manages to squeeze in a few funny moments amid the drama, very clean cinematography, intelligent editing, quality production values and a quiet, serviceable musical score.

Minuses: if you avoid this movie because of its length (140 minutes), you will miss plenty… gangland grudges, Vogel’s daring, a pressure-packed manhunt, threats uttered with hushed voices and a breathtaking caper in a fortress jewellery store. LE CERCLE ROUGE served as a sort of last hurrah for Bourvil, who died shortly after its release (leaving us with one more movie) and Jean-Pierre Melville who also contributed one more film before his death in 1973.

Comments: a cold and captivating thriller, LE CERCLE ROUGE proves once again that the name Melville is synonymous with first-rate moviemaking (and if it reminds you of Herman the novelist, you are right… Jean-Pierre Grumbach borrowed his surname out of sheer admiration). This engrossing film, much like Melville’s fascinating UN FLIC, will please all movie buffs.   

 

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Plein soleil

English title: Purple Noon

Genre: suspense drama

With: Alain Delon (Tom Ripley), Maurice Ronet (Philippe Greenleaf), Marie Laforêt (Marge Duval), Frank Latimore (O’Brien), Billy Kearns (Freddy Miles), Erno Crisa (Inspector Ricordi), Ave Ninchi (Gianna the maid)

Director: René Clément

Screenplay: René Clément and Paul Gégauff (adapted from Patricia Highsmith’s novel)

Release: 1960

Studio: Robert et Raymond Hakim, Paris Film et al.

Rating: PG-13

MBiS score: 8.5/10 

 

In memory of Alain Delon (1935-2024) 

 

Sailing Close to the Wind 

 

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Story-line: while travelling in Italy, Philippe Greenleaf is joined by Tom Ripley – an old friend hired by Greenleaf Sr. to bring him back to San Francisco – but goes squarely against his father’s wishes. Having time to kill and money to burn, he would much rather sail around the Mediterranean with his girlfriend Marge than go back to the States accompanied by an escort. Tom, cash-strapped but resourceful, tags along with the couple for what will be a fateful cruise.   

Pluses: excellent performances by Alain Delon, Marie Laforêt, Maurice Ronet and cast, tight, fast-paced direction, an intriguing and intelligent screenplay that keeps the action going, beautifully luminous cinematography (the seascapes are spectacular), very satisfying production values, a varied and quintessentially Italian musical score (by none other than Nino Rota) and a tightrope ending.

Minuses: you may skip this fine thriller if you have seen its 1999 remake, THE TALENTED MR. RIPLEY (critics have hailed both films… although some have given a slight edge to PLEIN SOLEIL).

Comments: this cold, mysterious and nerve-racking film keeps you guessing with its psychological battles, surprises and multiple twists. Seeing PLEIN SOLEIL is like spending a whole summer day outside in the glorious sun… and feeling a noticeable, uncontrollable chill once darkness falls.   

 

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Der Himmel über Berlin

English title: Wings of Desire

Genre: supernatural drama (in black and white/colour)

With: Bruno Ganz (Damiel), Solveig Dommartin (Marion the trapezist), Otto Sander (Cassiel), Curt Bois (Homer the aged poet), Peter Falk (the movie star), Hans-Marrin Stier (the dying man), Elmar Wilms (a sad man), Lajos Kovács (Marion's trainer)

Director: Wim Wenders

Screenplay: Peter Handke and Wim Wenders, with help from Richard Reitinger and Bernard Eisenschitz

Release: 1987

Studio: Road Movies Filmproduktion, Argos Films, Westdeutscher Rundfunk

Rating: PG-13

MBiS score: 8.8/10 

 

‟Instead of forever hovering above... I'd like to feel a weight grow in me... to end the infinity and to tie me to earth.” 

 

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Story-line: from various sites in Berlin – a rooftop, an incoming passenger jet, busy streets – angel Damiel observes humans dealing with earthly problems and tries to comfort them with the help of fellow angel Cassiel. One day, however, he wonders aloud what it would be like to be on the other side, to be a human being.

Pluses: persuasive acting by Bruno Ganz (as the reflective Damiel), Otto Sander (his sympathetic partner), Solveig Dommartin, Curt Bois and Peter Falk (in an important and surprising role), essential support from a good cast and a remnant of history (the Berlin Wall), perfect and uncompromising direction, a transcendent, poetic and thought-provoking screenplay, magnificent cinematography and breathtaking visuals, exquisite production values and a dramatic, varied musical score.

Minuses: (1) please remember that the film follows a specific colour code (black and white for angels, colour for humans; angels can be seen by blind people and children but not by adults generally). (2) While striving to show our two angels caring for earthlings at pivotal moments of their lives, the movie does feel disjointed and episodic in its first half but makes up for it later on by focusing brilliantly on its main characters. (3) Considering its philosophical point of view and occasional gravitas, this movie may not suit every taste.    

Comments: it is for good reason that most arbiters of the cinematic world (Cannes Festival, New York and Los Angeles Film Critics, National Society of Film Critics, etc.) have hailed Wim Wenders’ splendid work. Arty, conceptual, original and profound, it links the spiritual and secular worlds in daring fashion and takes the viewer on a journey that is sometimes gloomy but ultimately hopeful. Through Homer’s musings, it also bears witness to the scars that still pockmarked Berlin forty years after the war and to the infamous division brought about by the building of the Wall. WINGS OF DESIRE is a masterpiece, a cerebral work that slowly seeps into your system and stays with you like a guardian angel. As for its enigmatic final note (‟To be continued…”), it refers to a 1993 follow-up, FARAWAY, SO CLOSE!, that I may see eventually, God willing…              

 

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Un condamné à mort s’est échappé

English title: A Man Escaped

Also known as: le Vent souffle où il veut

Genre: war drama (in black and white)

With: François Leterrier (Lt. Fontaine), Maurice Beerblock (Blanchet), Roland Monod (Pastor Deleyris), Jacques Ertaud (Orsini), Jean Paul Delhumeau (Hébrard), Roger Treherne (Terry), Jean Philippe Delamarre (Prisoner number 10), Charles Le Clainche (François Jost)

Director: Robert Bresson

Screenplay: Robert Bresson (based on the memoir by André Devigny)

Release: 1956

Studio: Gaumont, Nouvelles Éditions de Films

Rating: -

MBiS score: 8.8/10 

 

My Kingdom for a Rigid Spoon 

 

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Story-line: Lyons, 1943. Fontaine, a French officer arrested for planting a bomb, tries to evade his Nazi captors but is quickly caught and taken to Montluc, a fort from which no one can escape. Once inside, he has little doubt about his fate: he will face a firing squad... unless he finds a way out.  

Pluses: a convincing performance by François Leterrier as the patient and courageous Fontaine, fine support from a serious cast, superior direction, a tight, no-frills screenplay that flows like a personal diary – mind games included – and makes the most of its grave subject, understandably meagre production values, a very serviceable musical score and a riveting final act.

Minuses: you may need 30 minutes or so to get used to this stark and claustrophobic movie but your efforts won’t go unrewarded.

Comments: World War II has spawned films that are extraordinary in their own right and A MAN ESCAPED is one such film. Robert Bresson’s treatment of Fontaine’s real-life ordeal is dry, demanding and true to his mission as a filmmaker. According to my old Dictionnaire du Cinéma (Larousse, 1986), Bresson was a loner and a perfectionist who broke away from the moviemaking rules of his day to tell his stories in a neutral, stylized tone with the help of non-professional actors. And his method, as arid as it was, yielded several works of vast artistic and human portent. Fontaine’s intensely dramatic story of humiliation, defiance, suspicion and dread is a masterpiece of resilience and international cinema.  

 

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Atlantic City

Genre: psychological drama

With: Susan Sarandon (Sally Matthews), Burt Lancaster (Lou Paschall), Kate Reid (Grace Pinza), Michel Piccoli (Joseph), Hollis McLaren (Chrissie), Robert Joy (Dave), Al Waxman (Alfie), Robert Goulet (the Singer)

Director: Louis Malle

Screenplay: John Guare

Release: 1980

Studio: International Cinema Corporation, Selta Films, Canadian Film Development Corporation

Rating: 18A

MBiS score: 8.4/10

 

 

High Hopes and Broken Dreams on the Boardwalk

 

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Story-line: it seems like the sky is falling on Sally Matthews, who works at the oyster bar of an Atlantic City casino and dreams of becoming a highly-paid croupier on the international circuit. For one thing, she can smell trouble when her husband Dave and her pregnant sister Chrissie show up at the casino – and she doesn’t even know that Dave is carrying a stash of cocaine he stole in Philadelphia. There’s also Joseph, her gaming teacher and one of her bosses, who seems interested in her for reasons other than career development. And then there’s Lou, a mob underling from old-time Vegas who lives next door and fantasizes over her every time he sees her in the window…   

Pluses: stellar performances by Susan Sarandon, Burt Lancaster and a fine cast in atypical roles, excellent direction from a French master, an offbeat and unpredictable screenplay that relies on fascinating character interplay and lively, ironic dialogues, informative cinematography, appropriate production values and a satisfying summing-up.

Minuses: the movie may feel disjointed at first but it all comes together as you get to know the characters. This is one film that conquers you slowly but surely.

Comments: the eventful, nostalgic ATLANTIC CITY symbolizes decay and renewal in a gambling paradise as it shows new buildings rising amid ruins and, more importantly, wannabes and has-beens struggling with the past or their future. Louis Malle’s witty comment on the city – positive or negative? I’m not sure – was honoured with 5 major Oscar nominations in 1982 (Best Picture, Actress, Actor, Director, Writing), an accomplishment more rewarding than any jackpot in the land of fast money. Just flew into town tonight, Lady Luck was on our flight… 

 

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Bigamist (The)

Genre: romantic drama (in black and white)

With: Joan Fontaine (Eve Graham), Ida Lupino (Phyllis Martin), Edmond O'Brien (Harry Graham), Edmund Gwenn (Mr. Jordan), Kenneth Tobey (Tom Morgan), Jane Darwell (Mrs. Connelly), Peggy Maley (Phone Operator), George Lee (Sam)

Director: Ida Lupino

Screenplay: Collier Young (based on an original story by Lawrence B. Marcus and Lou Schor)

Release: 1953

Studio: The Filmmakers

Rating: 14

MBiS score: 8.2/10

 

 

132 Brinkman Street

 

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Story-line: when Eve and Harry Graham meet Mr. Jordan at his San Francisco office to finalize an adoption, Jordan notices Harry’s discomfort when asked to authorize a full investigation into his private life. Pushing his inquiries further, Jordan visits the Grahams at home and some of Harry’s business partners in Los Angeles. In so doing, he will learn that Harry is not the man he seems to be.

Pluses: delicate acting by Edmond O’Brien (in a tricky role), Joan Fontaine (the sometimes aggressive yet loving Eve) and Ida Lupino (a striking, beaming Phyllis), professional direction, a straightforward and credible screenplay marked by truthful dialogues, appropriate production values and a touching musical score. 

Minuses: a couple of Jordan’s lines are rather manipulative – while trying to show how conscientious he is – but do not detract from the movie’s overall value. Yes, the title reveals plenty… but the story behind it is well worth seeing.  

Comments: Ida Lupino (1918-1995) appeared in thirteen films or so as an actress and made four movies as a director. Here, she radiates charisma on screen and manages a formidable balancing act behind the camera by depicting Harry Graham not as a louse but as a human being faced with a heart-rending choice. THE BIGAMIST is neither a tasteless flick nor an exercise in shock value, but a sincere motion picture that grows on you like Phyllis Martin if you met her on a tourist bus. Life can be such a treacherous affair… 

 

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Metri shesh va nim

English title: Law of Tehran

Also known as: Just 6.5

Genre: crime drama

With: Payman Maadi*(Samad Majidi), Navid Mohammadzadeh (Naser Khakzad), Houman Kiai (Hamid), Farhad Aslani (the Judge), Maziar Seyedi (Ashkani), Parinaz Izadyar (Elham), Ali Bagheri (Reza Moradi), Marjan Ghamari (Damereza, Reza Moradi's wife), Yusef Khosravi (Vahid, the Crippled Man's son), Amirhossein Mirchi (Reza Japoni), Mehdi Hosseininia (Hassan Gavi)

Director: Saeed Roustayi

Screenplay: Saeed Roustayi

Release: 2019

Studio: Boshra Film, HA International

Rating: -

MBiS score: 8.6/10

 

 

‟There's no Naser Khakzad in the drug trade.”

 

 

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Story-line: with the help of his colleagues Hamid and Ashkani, narcotics agent Samad Majidi is making every effort to nab a drug trafficker named Naser Khakzad. Catching the elusive trafficker would be a genuine achievement for Samad, who is seeking a promotion that Hamid also wants, but his leads are untrustworthy and progress is unbearably difficult.

Pluses: forceful performances by Payman Maadi (as the aggressive Samad), Navid Mohammadzadeh (in a surprisingly nuanced role) and an exceptional cast (all actors, including the children, are top-notch), tight, professional direction, a complex, twisty and high-impact screenplay filled with extraordinary situations and hard-hitting dialogues, lovely cinematography, frenetic editing, high-quality production values and an energetic, entirely appropriate musical score.

Minuses: in the eye of some reviewers, the stunning LAW OF TEHRAN is an indictment of Iranian policing and society but I won’t pass judgment on the issue. One must remember that, in the war on drugs, Western law enforcement has been plagued by inefficiency, insufficient resources, police corruption and other problems.

Comments: once you have seen the opening sequence – in which Samad hunts down a small-time dealer – you will understand why this movie deserves a very high score. With its relentless action and its gallery of impressive characters, the revealing LAW OF TEHRAN demonstrates how the fight against drugs is an uphill battle – especially when you learn the meaning of its alternate title, JUST 6.5. Man has always tried to escape reality by whatever means at his disposal, even those that are harmful or illegal. Come to think of it, even cinema can be considered a form of escape… but at least it won’t set the cops running after you. Kudos to Saeed Roustayi for his great contribution to cinema, in only his second attempt at directing.

  

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*Please note that proper names in this review have alternate spellings. My apologies to any and all concerned.

O Lobo Atrás da Porta

English title: A Wolf at the Door

Genre: suspense film   

With: Milhem Cortaz (Bernardo), Fabiula Nascimento (Sylvia, his wife), Isabelle Ribas (Clara), Leandra Leal (Rosa), Tamara Taxman (Rosa’s mother), Juliano Cazarré (Detective Delegado), Paulo Tiefenthaler (Wander), Thalita Carauta (Betty), Karine Teles (Professora Arlete)

Director: Fernando Coimbra

Screenplay: Fernando Coimbra

Release: 2013

Studio: Gullane, TC Filmes

Rating: -

MBiS score: 8.5/10

 

  

– Who was that woman? A stranger?

– Not a stranger. The girl ran over to her, jumped up into her arms. 

 

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Story-line: Rio de Janeiro. When Sylvia arrives at Dona Arlete’s school to fetch her daughter Clara, she is told that the little girl has already left with Sheila, a neighbour. Because none of her neighbours answers to that name, Sylvia immediately reports the disappearance to the police. 

Pluses: tremendous acting by Milhem Cortaz, Fabiula Nascimento and especially Leandra Leal in wide-ranging roles, convincing support from a fine cast, irreproachable direction, a realistic and well-structured screenplay that effortlessly blends past and present to tell its story of mystery and deceit, crisp and clean cinematography, appropriate production values, a purposeful musical score and a stunning climax.

Minuses: none.

Comments: after a whirlwind 14-minute intro, Fernando Coimbra’s masterful film reconstructs the events that led to Clara’s disappearance. As it brilliantly unravels a mass of lies, contradictions, threats, revelations and cruelties, you will get to know the parties involved and measure the full extent of their drama. Modest but no less hard-hitting, A WOLF AT THE DOOR is a valuable, riveting addition to cinema and to any movie buff’s treasure trove.   

 

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Moonlight

Genre: personal drama

With: Mahershala Ali (Juan), Alex R. Hibbert, Ashton Sanders and Trevante Rhodes (Chiron as a boy, teenager and adult respectively), Naomie Harris (Paula, Chiron’s mother), Janelle Monáe (Teresa, Juan’s girlfriend), Jaden Piner, Jharrel Jerome and André Holland (Kevin at age 9, as a teenager and as an adult respectively), Patrick Decile (Terrel), Shariff Earp (Terrence), Duan Sanderson (Azu)

Director: Barry Jenkins

Screenplay: Barry Jenkins (from a story by Tarell Alvin McCraney)

Release: 2016

Studio: Elevation Pictures, A24, Pastel, Plan B Entertainment

Rating: R

MBiS score: 8.6/10

  

‟I'm me man. Ain't trying to be nothing else.” 

 

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Story-line: Miami in the 1970s. While cruising around to meet his associates, drug trafficker Juan sees a boy being pursued by mean-spirited schoolmates. He follows along, finds the frightened boy hiding inside an abandoned apartment and tries to connect with him. When he realizes that the odds of life are stacked against the boy – named Chiron but often called ‟Little” –, Juan decides to take him under his wing with the help of his pretty lady Teresa.   

Pluses: terrific acting by Alex R. Hibbert, Ashton Sanders and Trevante Rhodes as Chiron the sad young man, an impressive Mahershala Ali (Juan the gentle giant), a very strong Naomie Harris (as Chiron’s intimidating mother), Jaden Piner, Jharrel Jerome and André Holland (as Chiron’s only friend) and all underage actors involved, impeccable and thoughtful direction, a serious and realistic screenplay featuring pungent dialogues, memorable scenes and moments of welcome introspection, high-quality production values, sharp cinematography, a beaty, soulful and always fabulous soundtrack (especially Hello Stranger by Barbara Lewis) and a bittersweet ending that leaves you speechless.

Minuses: none I can think of.

Comments: the moving and worthy MOONLIGHT follows Chiron, the introverted son of a dysfunctional family, from childhood to adulthood, focusing on the abuses he had to withstand, his difficult adaptation to a brutal, careless world and the pains he will carry all his life. Nominated 8 times at the 2017 Academy Awards ceremony, Barry Jenkins’ work garnered Oscars for Best Picture, Best Adapted Screenplay and Best Supporting Actor. Need I say more? 

 

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High Noon

Genre: western (in black and white)

Also known as: Train sifflera trois fois (le)

With: Gary Cooper (Marshal Will Kane), Thomas Mitchell (Jonas Henderson, the Mayor), Lloyd Bridges (Harvey Pell, Will’s Deputy), Katy Jurado (Helen Ramirez), Grace Kelly (Amy Fowler Kane), Otto Kruger (Judge Percy Mettrick), Lon Chaney Jr. (Martin Howe), Harry Morgan (Sam Fuller), Ian MacDonald (Frank Miller)

Director: Fred Zinnemann

Screenplay: Carl Foreman (based on a story by John W. Cunningham)

Release: 1952

Studio: Stanley Kramer Productions

Rating: PG

MBiS score: 8.7/10 

 

I’m not afraid of death

But, oh, what will I do

If you leave me?* 

 

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Story-line: as soon as Miller, Colby and Pierce ride into Hadleyville, their presence inspires fear among the locals, even more so when news breaks out that Miller’s brother has been released from jail and is arriving on the noontime train. Simply put, those ne’er-do-wells are looking to take revenge on Will Kane, the outgoing lawman… and they don’t care if it’s Kane’s wedding day. Lovely Amy will be a widow before the day is done.

Pluses: a tone-perfect turn by Gary Cooper (in an Oscar-winning role), fine support from a radiant Grace Kelly, a solid Lloyd Bridges and Katy Jurado (as the enigmatic Helen), steady direction by a distinguished helmer, a rich and perceptive screenplay remarkable for its tightness, tension and complex character study, superb cinematography illustrating daily life in a frontier town, breathless editing, modest but pertinent production values and Tex Ritter’s poignant, Oscar-winning song.

Minuses: none I can think of.

Comments: in Fred Zinnemann’s tragic Western, the tall and slim Gary Cooper embodies a prototypical quiet hero faced with an impossible crisis. More than a simple shoot-’em-up, HIGH NOON is a disheartening tale about hatred, cowardice, duty and ungratefulness, a true classic as defined in my old Canadian Oxford Dictionary (‟a work… of lasting value”). The clock is ticking, Will’s efforts are fruitless and that damned train is due any minute now… 

 

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*High Noon (Do Not Forsake Me), written by Ned Washington and Dimitri Tiomkin.

Strasti po Andreyu

English title: Andrei Roublev

Genre: historical, biographical drama (mostly in black and white)

With: Anatoliy Solonitsyn (Andrey Rublev, a monk specializing in iconography at the Andronnikov monastery), Ivan Lapikov (Kirill, a fellow monk and rival painter), Nikolay Grinko (Daniil Chyornyy, the other monk in the trio we meet at the 10-minute mark), Nikolay Sergeev (Theophanes the Greek, a renowned painter looking to hire an assistant), Irina Tarkovskaya (Durochka, the simple-minded girl of whom Andrey becomes a protector), Rolan Bykov (Skomorokh, the buffoon seen early on and very late in the movie), Mikhail Kononov (Foma), Yuriy Nazarov (the Grand Duke), Nikolay Burlyaev (Boris, the young foundry artist), Nikolay Glazkov (Yefim the balloon rider)

Director: Andrei Tarkovsky

Screenplay: Andrey Konchalovskiy, Andrei Tarkovsky

Release: 1966

Studio: Mosfilm et al.

Rating: R

MBiS score: 9.0/10

 

 

A Duty to Suffer for Art and Religion 

 

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Story-line: Russia, a land in turmoil at the beginning of the 15^th century. While some men dream of flying like birds and build strange contraptions to free themselves from the forces of gravity, earthbound peasants live in pitiful poverty, nobles clash to increase their power base and ethnic groups collide in bloody, cruel war. As a witness to these tumultuous events, Andrey Rublev, a monk regarded as a great painter of religious icons, tries to reconcile the demands of his craft, the frailties of human beings and the principles of his faith.

Pluses: intense performances by Anatoliy Solonitsyn (as the exigent, well-meaning Andrey), Ivan Lapikov, Nikolay Sergeev and Rolan Bykov especially, world-class direction, an arty, episodic and exacting screenplay that affords scenes of grandeur, heated discussion and meditation, historically faithful production values, exceptional cinematography and a stunningly effective musical score.  

Minuses: if you jump into this movie not knowing anything about its structure or its main character, you may feel confused and even discouraged. To be frank, I was mightily tempted to quit early on but, instead, I stopped at the 45-minute mark and read the synopsis posted on the wonderful IMDB website… yes, you can read it before watching this particular movie. Once I did, everything became much clearer and I was better equipped to appreciate this astounding and worthy film (the last segment, depicting the casting and founding of a cathedral bell, is truly awesome).

Comments: because of its setting and mood, this unusual and remarkable epic stirs up memories of Bergman’s THE SEVENTH SEAL. Conceptually, it runs the gamut, mixing personal drama, religion, social considerations, art and even war. Being a work of enlightenment more than entertainment, ANDREI ROUBLEV is indeed a challenging watch but, the more I got into it, the more I understood why it is considered a masterpiece. Behold Tarkovsky’s brilliance! 

 

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*Please note that proper names in this review have alternate spellings. My apologies to any and all concerned.

Seconds

Genre: science-fiction drama (in black and white)

With: John Randolph (Arthur Hamilton), Frances Reid (Emily Hamilton), Murray Hamilton (Charlie Evans), Jeff Corey (Mr. Ruby), Will Geer (Old Man), Richard Anderson (Dr. Innes), Rock Hudson (Antiochus Wilson), Wesley Addy (John), Salome Jens (Nora Marcus), Nedrick Young (Henry Bushman), Dodie Heath (Mrs. Bushman), Karl Swenson (Morris)

Director: John Frankenheimer

Screenplay: Lewis John Carlino (based on the novel by David Ely)

Release: 1966

Studio: Joel Productions, John Frankenheimer Productions Inc., Gibraltar Productions, Paramount Pictures

Rating: R

MBiS score: 8.5/10 

 

Reach for the Gusto 

 

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Story-line: Arthur Hamilton, a middle-aged bank executive with a comfy, routine life, is suddenly rattled by outlandish events. First off, he receives a phone call so unusual he can’t talk about it. Then, a stranger on his daily commute hands him a piece of paper – an unknown address, 34 Lafayette Street. Soon after, he receives another phone call from Charlie Evans, an old friend who had died (???) several years before. ‟I’m alive!”, says Charlie. ‟More alive than I've been in the past 25 years…” Charlie proves his point – by recounting a personal moment with Arthur at a tennis tournament – and begs him to go to the Lafayette address: ‟… Come tomorrow… If you don't show up, that's it!” An overwhelmed Arthur doesn’t commit to anything but he might…   

Pluses: very credible – and at times exquisitely subtle – acting from a seasoned cast, a cold directorial style that nurtures a strange and special mood, an intense and intelligent screenplay shrouded in mystery, Oscar-nominated cinematography (by James Wong Howe), good production values, an active and purposeful musical score.  

Minuses: this is not a complaint, but something worth noticing: characters in this film, especially Arthur, sweat often and profusely.

Comments: a brilliant, existential premise is treated as a bracing mindbender far removed from ordinary life but innately linked to human nature. SECONDS is so enigmatic and unsettling that you’re never certain of what you’re seeing… yet it remains logical and grounded throughout. John Frankenheimer’s clever, orwellian film – for which he was nominated for the Palme d’or in Cannes – is proof positive that old movies are well worth your time. And if Orwell had seen it, he would have been proud of this thought-provoking sci-fi film that in fact owes little to the genre. 

 

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Once Upon a Time in America

Genre: crime drama

With: Robert De Niro (David ‟Noodles” Aaronson), James Woods (Max Bercovicz), James Hayden (Patrick ‟Patsy” Goldberg), William Forsythe (Philip ‟Cockeye” Stein), Elizabeth McGovern (Deborah Gelly), Larry Rapp (Fat Moe), Treat Williams (Jimmy O’Donnell), Amy Ryder (Peggy), Tuesday Weld (Carol), Darlanne Fluegel (Eve), Burt Young (Joe Minaldi), Joe Pesci (Frankie Minaldi), Arnon Milchan (Chauffeur), Danny Aiello (Police Chief Aiello), Gerard Murphy (Crowning), Robert Harper (Sharkey)

Director: Sergio Leone

Screenplay: Leonardo Benvenuti, Piero De Bernardi, Enrico Medioli, Franco Arcalli,  Franco Ferrini and Sergio Leone, with help from Ernesto Gastaldi and additional dialogues by Stuart Kaminsky (source material: Harry Grey’s novel)

Release: 1984

Studio: The Ladd Company, Regency, Embassy International Pictures, Warner Bros., Producers Sales Organization

Rating: 18A

MBiS score: 8.9/10 

 

‟What is someone supposed to say after… after more than thirty years?” 

 

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Story-line: New York City, 1933. ‟Noodles” Aaronson, an important bootlegger, is forced to leave town when his long-time partners Max, Cockeye and Patsy die at the hands of the police and his girlfriend is killed by rivals who are out to get him. Thirty-five years later, while living quietly in Buffalo, he is called back to the Big Apple in circumstances so odd that he believes someone has found him and wants to knock him off.   

Pluses: an impeccable group of actors led by Robert De Niro and James Woods, expert direction that shows the cast to full advantage and maintains a satisfying pace, a brilliant, detailed and busy screenplay that answers every question raised and features several startling moments (one discussion between Noodles and Carol inside a parked car is nothing if not a cinematic gem), blockbuster production values that superbly recreate the eras at issue, magnificent cinematography, Ennio Morricone’s sublime musical score and, of course, a stunning 30-minute final act. 

Minuses: the non-linear narrative may throw you off in the first half hour but everything falls into place as the story develops. If possible, watch this movie in its 229-minute version... which doesn't seem longish at all. On the negative side, the hospital caper  seemed a bit far-fetched to me but, even so, it remains a very minor episode within the story. There is violence, as one can expect from this type of movie.

Comments: the tragic ONCE UPON A TIME IN AMERICA is an astounding epic recounting the rise and fall of an audacious gang dealing in booze, robbery, intimidation and murder, with particular emphasis on the bond between Noodles and Max. Despite its brutal subject matter, it leaves room for romance and the women who, for better or for worse, gravitate around the gang. As I watched along, I realized that Sergio Leone was not only a master of the spaghetti western but a great filmmaker generally. I won't mince words... this triumphant mob flick stands on equal footing with the best of the  GODFATHER trilogy.  

 

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