The Bear

Genre: nature drama

With: Youk (the Bear Cub), Bart (the Kodiak Bear), Tchéky Karyo (Tom), Jack Wallace (Bill), André Lacombe (the hunter with dogs)

Director: Jean-Jacques Annaud

Screenplay: Gérard Brach (based on James Oliver Curwood's novel)

Release: 1988 

Studio: Price, Renn Productions

Rating: PG

MBiS score: 8.1/10

 

 

They May Be Likeable on Screen But 

They'll Never Be Teddy Bears

 

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Story-line: the venue is British Columbia, the time, 1885. When its mother dies in an unfortunate accident, a bear cub has to fend for itself in an unforgiving habitat and guard against strange creatures that roam the forest on their hind legs and carry metal rods that go boom!

Pluses: an astute screenplay combining tragedy, suspense and genuinely touching moments, awesome direction, extraordinary camera work by Philippe Rousselot (A RIVER RUNS THROUGH IT), good acting from a smallish cast, outstanding special effects and production values, beautiful music by Philippe Sarde and the London Symphony Orchestra.

Minuses: be on notice that one hunter's trick involves bear turd. The dream sequences, albeit useful, seem a bit awkward and unrealistic.  

Comments: THE BEAR stands apart from usual wildlife features in that it avoids corniness and doesn't hide the more brutal aspects of our natural world. Having seen François Truffaut's LA NUIT AMÉRICAINE – in which he comments on the use of animals in cinema – I was truly amazed by Jean-Jacques Annaud's technical feat; I don't even want to know how he achieved it all (although Animatronics were certainly used at some point). As for rating this remarkable nature project, I gave it an 8.6 for technical merit, photography and editing but a 7.6 for the story itself, considering the limits to what drama, comedy and nuance one can pull from Kodiaks and grizzlies... thus my score of 8.1, admittedly lower than most. Kudos to J.-J. Annaud and team for a strong and lovely movie that pays due respect to the animal kingdom.  

 

MBiS 

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 Stop Making Sense

Genre: concert film  

With: the Talking Heads: David Byrne (guitar and lead vocals), Tina Weymouth (bass), Jerry Harrison (guitar and keyboards), Chris Frantz (drums); guest musicians and singers

Director: Jonathan Demme

Screenplay: Jonathan Demme, the Talking Heads

Release: 1984

Studio: Talking Heads, Arnold Stiefel Company

Rating: -

MBiS score: 8.0/10 

 

Cure Your Anxiety with a Healthy Dose of Rock and Funk 

 

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Story-line: the Talking Heads, celebrated angstmeisters of rock's new wave era, are presented in concert for your viewing pleasure. 

Pluses: David Byrne's theatrics and fiery showmanship, the band's unbridled energy, a sparkling repertoire of songs founded in alienation, wry humour and irony, top-notch direction, editing and production values, Jordan Cronenweth's lovely and sometimes grainy cinematography and, very importantly, excellent s-o-u-n-d.

Minuses: don't be misled by the film's mellow beginning... it warms up in no time. Although well versed reviewers have called it the best concert film ever made, I can't see how it surpasses THE LAST WALTZ. As for the "big suit" worn by David Byrne in the final act, some people may find it offensive and, quite frankly, I didn't understand the concept behind it.

Comments: at the time this film was made, I saw the Heads in Montreal and, although they had delivered a fine set that night, I don't remember David Byrne giving such a torrid, exhausting performance as here. Let's give credit to Jonathan Demme for immortalizing these distinctive, off-kilter musicians at the height of their creative careers. Don't be straight, don't be normal, STOP MAKING SENSE!     

 

MBiS 

© 2021 – All rights reserved

 

Dark Passage

Genre: crime drama (in black and white)

With: Humphrey Bogart (Vincent Parry), Lauren Bacall (Irene Jansen), Bruce Bennett (Bob), Agnes Moorehead (Madge Rapf), Tom D'Andrea (Sam, the cab driver), Rory Mallinson (George Fellsinger), Houseley Stevenson (Coley), Clifton Young (Baker), Douglas Kennedy (Detective)

Director: Delmer Daves

Screenplay: Delmer Daves (based on the novel by David Goodis)

Release: 1947

Studio: Warner Bros. (as Warner Bros.-First National Pictures)

Rating: PG

MBiS score: 8.5/10

 

 

A Film Noir Double Bill –

At Face Value

 

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Story-line: freshly escaped from San Quentin, Vincent Parry has plenty to worry about. For one thing, he’s not sure he can trust the girl who picked him up on the road and is taking him to San Francisco. For another, he’s a shoo-in to get caught because he’s one of those guys who hasn’t got “a chance in this world”. What’s a fugitive to do, especially one who claims he’s innocent?

Pluses: top-level acting from Humphrey Bogart (in a dry and sombre role), Lauren Bacall (showing coldness but also restrained passion), Bruce Bennett and Agnes Moorehead, vigorous and inventive direction, a tight, logical and complicated screenplay featuring a close-knit circle of characters and remarkably brisk dialogues, irreproachable production values, an ominous musical score and a memorable ending.

Minuses: none really.

Comments: Encyclopaedia Britannica online defines “film noir” as a “style of filmmaking characterized by such elements as cynical heroes, stark lighting effects, frequent use of flashbacks, intricate plots, and an underlying existentialist philosophy. The genre was prevalent mostly in American crime dramas of the post-World War II era.” A brilliant definition... and one that cleverly explains what DARK PASSAGE is all about. Vincent Parry faces danger everywhere he goes, cops and baddies are always on his trail and trust is something he can’t extend too liberally. All this adds up to a genuinely riveting drama, a quintessential film noir... and a fine addition to your movie repertory. 

 

MBiS

© 2020 – All rights reserved

 Kiss Me Deadly

Genre: suspense (in black and white) 

With: Ralph Meeker (Mike Hammer), Maxine Cooper (Velda Wickman), Wesley Addy (Lt. Pat Murphy), Paul Stewart (Carl Evello), Juano Hernandez (Eddie Yeager), Marian Carr (Friday), Albert Dekker (Soberin), Fortunio Bonanova (Carmen Trivago), Cloris Leachman (Christina Bailey), Gaby Rodgers (Lily)

Director: Robert Aldrich

Screenplay: A.I. Bezzerides (from a novel by Mickey Spillane)

Release: 1955

Studio: Parklane Pictures

Rating: NR

MBiS score: 8.6/10

 

 A Film Noir Double Bill –

‟Kiss me. The liar's kiss that says I love you, and means something else.”

 

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Story-line: when detective Mike Hammer picks up a barefooted blonde one night in the middle of nowhere, he senses that something’s up. Even more so when she tells him she’s ‟a loony from the laughing house. Loonies are dangerous.”   

Pluses: tone-perfect acting by Ralph Meeker and an utterly believable cast, fluid direction, a complicated and absorbing screenplay saturated with sinister-looking characters, sardonic dialogues and surprisingly heavy drama, an effective musical score, amazing costumes and sets (dig that telephone answering machine!), pretty (and sometimes slanted) cinematography, skilful editing and fine production values.

Minuses: none really… except that nobody’s legit in this stunning movie.

Comments: this gem of a film noir is mysterious, entertaining and ultimately very powerful. Like Hammer himself, you won’t figure things out until you’re in deep, deep trouble. With its tense and tragic tale that delivers a knockout ending, KISS ME DEADLY doesn’t disappoint… and you’ll have to trust me on that.

MBiS

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Mon oncle d’Amérique

Genre: behavioural docufiction

With: Gérard Depardieu (René Ragueneau), Nicole Garcia (Janine Garnier), Roger-Pierre (Jean Le Gall), Nelly Borgeaud (Arlette Le Gall), Pierre Arditi (Zambeaux), Gérard Darrieu (Léon Veestrate), Philippe Laudenbach (Michel Aubert), Marie Dubois (Thérèse Ragueneau), Henri Laborit (himself)

Director: Alain Resnais

Screenplay: Jean Gruault (based on Henri Laborit’s scientific work)

Release: 1980

Studio: Philippe Dussart, Andrea Films, TF1

Rating: U

MBiS score: 8.9/10

 

 

‟Animals – and men for that matter – are endowed with four instincts: survival, flight, struggle and inhibition.”

 

 

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Story-line: MON ONCLE D’AMÉRIQUE illustrates Henri Laborit’s behavioural theories by applying them to three fictional characters: (1) Jean Le Gall. a teacher, civil servant, broadcasting executive and controversial writer, (2) Janine Garnier, a fashion stylist and stage actress involved with a married man, and (3) René Ragueneau, a country boy who has worked his way up to a managerial position in the textile industry. Their common trait? They are all driven, ambitious individuals who want to live life to the fullest.  

Pluses: impressive performances by well-known thespians, a serious, detailed and perfectly logical screenplay that ingeniously uses old movie snippets to buttress each character’s motivations, fine direction and editing, plain-Jane photography, adequate production values and a lovely, efficient musical score by Arié Dzierlatka.

Minuses: the first act (25 minutes or so) may feel dry and didactic but the story itself becomes amply relevant once its theoretical foundations have been laid.  

Comments: MON ONCLE D’AMÉRIQUE - an original, enriching and expertly crafted hybrid film - is an invaluable record of Henri Laborit’s genius and a clear-headed demonstration of basic behavioural concepts. According to the Petit Robert dictionary, the French expression ‟mon oncle d’Amérique” refers to an imaginary relative who dies abroad and unexpectedly leaves you a fortune, a pipe dream really, sort of like ‟if I ever win the lottery…” As for the film’s conclusions about the human condition, I’m sure you will find them eye-opening but also horrifying. In spite of his vast knowledge, man still has plenty to learn…   

 

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