(Almost) The Last of 2007: No Country For Old Men, The Diving Bell and the Butterfly, The Simpsons Movie

Here are 3 of the last 5 films I saw in 2007. All three are some of the biggest acts to debut before the year's end, though my reaction to each of them spanned from "great" to "meh."

Monday, December 17, 2007

No Country For Old Men: I was terribly underwhelmed by this nebulous story on a western man in the dusk of his life, and thought it veered toward viciousness and violence rather carelessly. Stylistically, No Country is stunning, don't get me wrong. I have to tread on this thumbs-down criticism lightly, because there is no question the Coens are two of the most important and talented filmmakers of my generation. But at the same time I can't help but think the movie was too callous in the handling of its subject (the American West, its people) to be received with such adulation. I know I'm in a minority on this one, but I felt cheated by the movie's end; after two hours of slaughter there was hardly any account for its characters, as if they didn't matter to begin with. There is such a distance between the Coens and the characters they create that each one always feels forcefully drawn up, making it that much easier for them to be, finally, expendable.




Friday, December 21, 2007

And then came director Julian Schnabel's The Diving Bell and The Butterfly: a sheer visual delight, and a film that has such tenderness for human life. French Elle Editor Jean-Dominique Bauby is suddenly paralyzed from a stroke, and learns to communicate by blinking his left eye; one blink for "yes," two blinks mean "no." By these means he writes a short novel chronicling his experience trapped within his own body, with the assistance of a speech therapist who recites the alphabet until he blinks "yes" for the letter needed to complete his word. The film is based on this true short story, and features a performance by Max von Sydow as Bauby's (Mathieu Amalric) father that rivals for the most emotionally devastating moments on film.

If you don't like this movie, you can't be human.






Sunday, December 30, 2007

Yeah, I know, I got to this one right under the wire, just hours before the end of '07, and even then it's sort of pathetic to think I waited all this time for The Simpsons Movie to arrive before my eyes on DVD format. You could see the complexity of the animation, how this "episode" was crafted specially for the big screen. I kick myself for missing this one in theaters last summer for this reason; it truly was a spectacle that I missed (if not a cinematic phenomenon, it was surely a cultural one.) And yet, if you look at the animation there is nothing done that hadn't been done before, and the story was your typical Simpsons arc: Marge and Homer arguing, the whole family suffering a public humiliation for something minor one of the family members (most likely Homer) could have prevented easily; Lisa in love (and Milhouse in love with Lisa); Bart exacerbating an already bad situation by misbehaving; and Maggie as the mystery shooter. So yeah, it was, like, the greatest Simpsons episode ever. I still will always refer to this great review that sums up about everything there is to be said about The Simpsons Movie.

Some New Film, Some Old: Russian Dolls, Juno, and Carlito's Way

Sunday, December 9, 2007

L'Auberge espagnole (2002) was the first Cédric Klapisch film I saw, and now the second, appropriately, the sequel to L'Auberge, Russian Dolls (2005), is another lovely jaunt through Europe where I live vicariously through the characters who find amazing abodes in the heart of Paris, and meaningful, hair-pulling careers as writers. Ah, where is that bottle of Bordeaux? My glass is empty and I need a refill.

Russian Dolls finds the college flatmates now buried in work they are disappointingly tied to as they struggle to make do with a reality that doesn't mesh with their dreams of yore. Each one, teetering on bona-fide adulthood, is swept off their feet by love and lust, still in touch with that dewy freshness of youth and ideals. Pour heavy. That glass is already empty...

L'Auberge Espagnole and Russian Dolls are to Generation Y, who now march solemnly into the dawn of their thirties, what John Hughes and The Breakfast Club were to Gen X-ers in the 1980s: a celluloid catharsis that demands we not deny the spirit of youth, enlightenment, of who we are, of who we love, of what we want to do, of who we want to be. Pour on!



Friday, December 14, 2007

I listed Juno in the number 4 slot of this year's Top Ten List, but it very well could have been placed further up (or down?) depending on the day. I wrote a bit about Ellen Page on Seen's sister site Scarlett Cinema, which defines Page as one of the biggest female assets to the film industry. You can read about that right here.

I'm thirsty for more of Ellen Page's fresh attitude and wit that holds as much clout as her male counterparts.


















Saturday, December 15, 2007

Hello, Brian De Palma! I missed your movie Carlito's Way in 1993, but now, nearly fifteen years later, I finally saw it, and I have to say it's one of my favorites. Pacino is always great, that's a given (except for in Two For The Money), but the real winner is Sean Penn as the coke addled, high-power attorney. For as humorless and annoying as Penn can be of late, one ought not to forget his serious contributions to cinema; his acting is simply uncanny. I have yet to see Into The Wild, but did see The Pledge (2001) and remember being impressed with his skill as a director too.

Also, some brief observations on the camera work in Carlito's: an outdoor party scene in the Hampdens reveals Penn and Pacino in extreme long shot, from what looks to be a mile away from the subjects; the sound of their conversation is crystal clear, however, and it creates a real sense of surveillance. De Palma also has the incredible ability to make the streets of New York look like they're duplicates on a set; in a number of scenes outside of a night club and an evening exterior of a cafe look downright painted.

Katie Holmes Hair Style

Katie Holmes Hair Style

Katie has made her entry into the hair style fashion scene with her very stylist modern bob hair style, see photo left.

Her style features lots of layering combined with a deep side part and side swept bangs. This type of hair style can be worn many different ways, including curly and stick straight.

The bob hair style, however, is a high-maintenance style that will require frequent trims and lots of hair style products to keep all the hair in exactly the right place. This is especially true if you have frizzy or unruly hair. See more Katie Holmes hair styles at http://www.hrhairstyles.com/katie_holmes.htm

Blood Butterflies

Ive just bought this t-shirt from Threadless - Flowers in the Attic. Its running out of stock though as they are having a $10 sale. This shirt seems totally emo. I bought several other shirts while waiting for this one to be reprinted (it was so popular, I knew it would be eventually). Fortunately it only took two weeks before the magic reprinting notice! I'm wearing it now. One of those designs that just sticks in your mind forever. I love it so much. Visit Threadless for a bunch more wonderful tees.

EMO T-Shirts

Image from BleedingStarClothing

Emo, which is a shortcut for “emotional,” is an important fashion trend nowadays. Emo clothing is rooted in other fashion styles, such as goth and punk. Emo fashion is associated with dark tight-fitted clothes, with occasionally flashy accessories.

Emo t-shirts are important pieces in the closet of any emo. Emo t-shirts can be very symbolic and expressive of the person’s feelings and interests. If you want to dress like an emo, here are the basic characteristics of an emo t-shirt that you need to know.

• Emo t-shirts are typically dark colored t-shirts. A plain black t-shirt is a favorite among emos.
• If you are not into wearing plain dark-colored t-shirts, striped or checkered t-shirts will also do.
• Dark colored t-shirts mixed with other colors, such as neon, can also be worn.
• Typical designs for emo t-shirts include various ghoulish symbols, such as a skull or a broken heart.
• Emo t-shirts may also have logos of emo bands, such as Dashboard Confessional and Hawthorne Heights, printed on them.
• Emo t-shirts are usually slim-fitted.

Emo t-shirts are best worn with pencil-tight jeans, studded belts and oversized belt buckles, and a pair of Vans or Converse shoes. Also consider getting a pair of horn-rimmed glasses and a black messenger bag. To complete the emo look, it is advisable to get an emo haircut and put on some simple black eye make-up, such as eyeliner or eye shadow. These tips apply for both guys and girls.

Although these are the clothes commonly worn by emos, you should not be limited to these. Remember that being emo calls for a sense of creativity, individuality and non-conformity. Your clothes say a lot about who you are and what you are feeling at the moment. Be true to yourself! Be emo!

How Do I Make My Curly Hair look Emo?

For those who have curly hair and want to look emo, here are some tips that would somehow help you achieve the emo look. These are all taken from the comment section. Thanks to all who have taken time to write these mini guides.

Oh, wow.
This could be a lot of work, but if you are willing to be dedicated to it, then it would look awesome.
Emo guys are so hot!
Alright, first off..
HOT TOPIC IS YOUR FRIEND!
I know some people are scared of it, but there is nothing wrong with the people there.
Just go. Almost every single thing in that place will make you look emo.
You don't necessarily have to wear skinny jeans. Regular jeans are ok too, as long as they are a dark color.

Ok, now for your hair.
You don't really have to dye it if you don't want because your hair is pretty dark as it is.
But you will need a straightener.. hate to say that but it's true.
Or you could get it chemically straightened, but that is like really expensive.
You might want to grow your hair out a bit, but it's not required, because emo is all about being yourself.
[Cough, cough.]
But you will need to have it straight.
Go to a stylist, or get a friend to cut it for you. You will need side bangs. Lots and lots of side bangs. And make sure they cover at least one eye.
One side of your bangs needs to be longer than the other side.
Cut the back part on top of your head kind of short and spike it up.
The best type of gel is Got-2-B-Glued.
Or, if you don't like that, you could try a faux-hawk. They are pretty cool.

Oh yeah, I almost forgot. SHOES!
Oh, how I love shoes.
You will need Vans slip-ons or Converse. Or some black skate shoes like Etnies or Adios.

And the best type of hoodie for an emo guy is either a plain black one, or a band hoodie, or one that is a zip-up with, like, black and grey wide horizontal stripes.
[Like one Pete Wentz would wear.]

Here's the part where I would tell you to try to be yourself, but it's a little too late for that now.
Hahahahaha.

Well good luck, I think it will look great!
I wanna know how it comes out.

By: Katie

First off all,
u have to straighten it.. its a must.
if u cant dye your hair, and u've straightened it, buy some moisturizing spray so it looks like your hair it makes your hair dark and messy. style it so it comes across your forehead at an angle then use hairspray to lock it in place.

after that, go to your hair dresser and ask him to layer the back and think it out and little but not take any length away from it.
then buy your self some hair clayy and go wild. pull your hair away from your head and then sort of twist it with your fingers and srunch it up. it gives it a reli messy spikey look. then hold that in place with hair spray. u dont have to spike it. if you dont comb it down constantly.

Becuase your hair is quite short go buy some reli huge womens sun glasses which will cover your eyes and try to pull you hair over your glasses.

Next if you cant buy any good emo-ish shirts go to like a childrens store and buy the tightest and smallest spiderman or transformer shirt u can fit into. dont worry if its a bit short and your belly is showing it just adds to the 'i'm not afraid to show my self and i dont care what u think look'

then buy some reli tight jeans and either vans old school skate shoes or slip-ons with a reli funky or childish design. if u cant the converse will have to do. Start listening to quality music like faber drive and as i lay dying ,which reli express how u feel then buy your self the bigeest head phones u can afford and have them on all the time it stops people from talking to you, and is reli anti social. Then find a tight zip up hoodie that is black, dark purple or pink. Wear your studded belt side ways also if u've got 2 put the other one on aswell.

By: Richard_died-inyourarms

The best way for me to get the emo look is to get a hair straightner and some straightening gel. If you have money to throw away, look into japanese hair straightening. Make sure to get heat protecting spray as to not fry the hair. Then for me I have to straighten twice a day so it falls flat and doesnt poof on me. Then apply palmade or clay. I should also add my hair is extremely thick so I had to get it thinned a bit as to once again so it wouldnt poof on me. My picture on thier is a month or 2 old. Ill get a new one soon.

By: Robdoghihi

Hey that dude with curly hair, what you should do instead of frying your hair with the irons, go to the hair salon and get a CHEMICAL straightner on it. Then you will have straight hair full stop. It's like a perm, except they make it straight instead of curly. Styling wise, I've seen your myspace. Dude it's a mess. Get it cut. You have a fairly long face, so it's best to keep your hair long all around. Get it cut just above the eyes and stop the spiking at the back. Keep it flat. It won't look like a mess. That's for the long hair look. Looking at your other pictures with your short hair, personally i think you look much better with short back and sides :P

anonymous

Personally I don't think people with curly hair should bother with the emo style. If you have curly hair, you're lucky, i love the ringlets lol. Emo guys, if you want emo hair just give it about half a year to grow and go and see your hairstylest mate. If you're afraid of your hairdresser like me and cut your own hair. Here is how.



You need some basic tools first.
Scissors. Not ones you cut paper with PROPER scissors.
A Sharp Object. Maybe a blade. Prefrably a rasor, small one.
Comb.

Okay the razor will be used to cut your sharp pointy fringe at an angle. Start from the left or right however you want to do it and about half way down your forehead. Cut it whatever angle you want.

Used the scissors to just trim down the sides of your hair and the top otherwise you will end up with the thickest, gayest and afrolikish hair. Not too short. Juut trimmed. Same with the back.

Comb it through and check your results. But note: USE A MIRROR and use two mirrors to cut the back of your hair.

By: The guy that is a master at cutting emo hair

Nick needs Help

Very cute Nick here needs some help. Lets help him become an emoboy. Post your thoughts on the comment section.

Hi my names Nick. I saw your advice on emo hair.
I am guessing your emo. Or whatever.
I want to look like that.
I just don't know what to do.
I don't know if this matters at all but heres my description along with pic.
I am 5'5 (short I know) i have about to my top of my eyes (when straight) brown ungodly curly hair. I ABSOLUTELY HATE IT. I wear hollister (not emo I know but what the heck idc its clothes) I have an awesome studded belt. I want to look emo. I also am a little like pudgy. I don't like it I want ab's. I am 14. I am NOT a kid and I know what I want.
I'd really appriciate your help.
Thanks

Short Experimental Films: Len Lye

Saturday, December 1, 2007

The Chicago Filmmakers' screening of Len Lye's short films earlier this month (12/01/07) was a fantastic film experience, and if you were so unlucky as to miss the 16mm tour of his oeuvre, there are a handful of Lye's films available for a peek on YouTube. I've posted my favorite above, Free Radicals (1958/1979), which begins at about 3:30 on the counter, and you can read a full description of each film in the series in an earlier post over at Seen's sister site Scarlett Cinema.

The Films of Pedro Costa

The Gene Siskel Film Center concluded its retrospective on filmmaker Pedro Costa a few weeks ago, and it was awesome. Here's a quick breakdown of what I saw, and again, please mind my brevity, but with two days left of 2007 I am scrambling to review everything that's been released in the past month. But, suffice it to say, in short, that everything I saw from Costa last month (and earlier this month) was fantastic and constitutes some of the best cinema I've seen in 2007.



Tuesday, November 27, 2007

With the release of Costa's Colossal Youth last year, his filmmaking has been at the fore of my mind, though not having seen any of his films before it was diffcult to gauge my expectations. Let me say now that the first Costa screening I attended in late November, Down To Earth (1994) was an aesthetic delight. The story follows a young nurse who travels back to her patient's rural hometown; he is in a coma, she seems in search of some meaning in her life. Surrounded by the mountainous landscape, littered with lava rocks and a scarce few trees, Costa's characters become abstract figures in disconnected space. His shot sequences lie somewhere in between the long takes of Bela Tarr that take on a life of their own, and the bouncy disconnect of Godard, a la Breathless, making us keenly aware of the technology that informs and mediates the actual landscape, at the same time showing us pure moments of beauty that mixes the live human being with the heavy force of nature.


Friday, November 30, 2007

Where Lies Your Hidden Smile (2001) is a must for anyone interested in editing, language, and the semiotics of them both. Following filmmakers Danièle Huillet and Jean-Marie Straub as they strain to find the precise moment to cut their film, the story is as much a show of their labor as it is a labor of love for one another. The filmmakers painstakingly advance and rewind the reel of celluloid frame-by-frame, in one scene, to find the the spot where the root of a character's smile begins, a subtle expression overlooked by the untrained eye. The film is an exercise in seeing how a film is edited, and though it requires an almost tedious amount of concentration, it's an experience unparalleled in its drive to show us what it takes to get just the right frame of film onscreen.


Tuesday, December 4, 2007

Colossal Youth was the big to-see film of 2006, and now that it has been released one year later I'm glad to say I finally saw it. Maybe it was the build-up of 365 days of rave reviews that made me slightly less than thrilled about the feature overall, but more likely, Colossal Youth simply fell to the shadow of the predecesors I was lucky enough to see before it, the aforementioned Down To Earth and Where Lies Your Hidden Smile. In retrospect, it actually seems like a familiar exercise for Costa who employs much of the same long-take/long shot aesthetic in Down To Earth (and undoubtedly others, which unfortunately I was unable to see), and, as illustrated in the image above, Costa's characters here too are contrasted against local buildings, structures, and other ubiquitous pieces of the landscape that really pull them out of space. Colossal Youth, for me, looked much like an urban version of Down To Earth. All of that being said, despite any repetition Costa exercised in this particular film it is still an individual masterpiece. The run-time is a bit longer than the others (and felt that way too), but you can think of this movie like you're taking an extended look at artwork on a museum wall; time is handled with a lot of texture that very much slows things down to make you notice everything you're seeing in the shot.

Bee Movie and Another 'B' Movie

Sunday, November 25, 2007

Late Marriage - 2001 - DVD

Late Marriage was a 2001 Israeli film that landed on my Netflix queue for reasons unknown. It won best everything from the Israeli Film Academy, but I found it just depressing. Though, before I begin to sound hateful of it, I'll stop; it wasn't the movie's fault I wasn't ready (or wanting) to watch it when it came, so I shall reserve criticisms for now.



















Monday, November 26, 2007

Most underwhelming and overhyped movie of the year: Bee Movie. Okay, Transformers was hyped more than Jerry Seinfeld's Bee flick, but I think most of us trusted that Seinfeld would end up with the smarter of the two animated films. Though I haven't seen Transformers to know for sure, the independent polling I took among friends and acquaintances was that Michael Bay's summer blockbuster was surprisingly fun. On the other end of the spectrum, I imagined hilarious and endlessly entertaining consequences for Seinfeld's script, so believe my profound disappointment when the movie turned out to be about not much more than a few jokes of the Seinfeld sort sprinkled throughout a contrived kids' story. The only thing good about the film was Seinfeld himself (as the bee's voice anyway), and I'd rather have him in non-computer animated form on the stand-up stage instead. Bummer, I was excited about this one...

A Few New Films in '07: Oswald's Ghost, I Think I Love My Wife, and The Darjeeling Limited

Friday, November 16, 2007

Oswald's Ghost was a short, and a shade sentimental documentary by Robert Stone on the Kennedy assassination's impact on U.S. society. As the title suggests, the film is centered on the role of Lee Harvey Oswald and the many subsequent conspiracy theories in the years after his murder. Though the film doesn't offer any new perspective on the history of the assassination, it does make use of long reels of news footage that are usually only seen in the length of a soundbite. Dan Rather is young, dewy-skinned freshman reporter, and the now gray and frazzled conspiracy theorists looked like young and frazzled conspiracy theorists; Jim Garrison is one in particular, the story of whom is the base of Oliver Stone's JFK (1991).

In all, what makes the movie compelling is not actually cinematic, but the result of the subject matter itself that's an inextricable part of the American political and social sphere. Looking at the Zapruder film up close and re-magnified is like living through that moment, now over forty years in our past, again for the first time (even for those of us who weren't alive to see it upon release.) The film mentioned a figure somewhere around the 70% range for the section of Americans that believe President Kennedy's death was conspired by our own government, using Oswald as he himself says on one famous newsreel, a "patsy." The film is kind of like an undergraduate level paper on the Kennedy assassination; interesting and genuinely curious and earnest in its questioning, but doesn't uncover anything new on the subject. That said, history buffs will delight (as I did) in the rekindling of facts it provides.


Friday, November 16, 2007

I Think I Love My Wife, Chris Rock's second directorial feature, was the most misogynist film of the year, gleefully congratulating itself with an internal monologue of cat calls from the film's lead character Richard Cooper (Chris Rock). Meanwhile back at home, his wife stakes her claim as a shrewish, demanding and humorless teacher/homemaker. Is Richard honestly shocked by their non-existent sex life when he is the only half of their so-called partnership that gets to have fun and make a joke or two?

Rock's adaptation is based on Eric Rohmer's Chloe in the Afternoon (1972), but is written for a much wider base; likely Rock's target audience is a far cry from those who sit down for the high concept ideas of Rohmer. The modern version of the film then becomes more of an exercise on bashing the low points of marriage, which are summed up from the male perspective only, thus pinning the roots of that anxiety on the boring, humorless wife. If only she were more fun, more spontaneous, then maybe he wouldn't be so tempted to undress every attractive woman with his eyes.



Sunday, November 18, 2007

Besides Rushmore (1998), The Darjeeling Limited might be the best Wes Anderson flick yet. I think the main criticism I've read about the film is its redundancy in terms of style, that it looks like every other W. Anderson film. His signature is surely there onscreen, but I adored it anyway. Everything from Bill Murray's opening cameo, to Jason Schwartzman's pepper spray scene was a lot of fun, and most of it was done with so little dialogue that it gave us a good chance to just watch a solely visual story. The fact that the three American brothers are deserted in a country where their language isn't understood in the first place, is a good premise for the muted scenes. Most notable are the shots of simple human movement: watching the brothers walk or run with old-school designer suitcases in tow, regular mundane exercises become elegant.

Otto Preminger Visits Chicago (and my living room)

Sunday, November 25, 2007

I've been watching a bit of Preminger lately, mostly due to a retrospective that ran at the Music Box Theatre. The screenings were once-a-week matinée shows on weekends; the first of which I saw was a gem from 1950, Where the Sidewalk Ends, starring Dana Andrews as a jaggedy-edged cop covering up a murder he didn't mean to commit.

Preminger cuts to the chase. From the start of the credit sequence we're already into the action, punctuated by the film's characters interacting directly with the title cards as they walk over the big, chalked letters on the sidewalk beneath them. City sounds abound: car horns honking, people chattering, it's an overall bustling buzz that hints more at a reality than style. Though that gritty reality is in and of itself a style.

Sgt. Mark Dixon (Dana Andrews) is a disturbed by something internally (is it the war? at this late date I can't recall if his character is war veteran), which he takes out rather aggressively on the rough-necks he picks up. He's warned by his superiors (one Lt. Thomas, played by Karl Malden) to cool it or he'll be suspended or demoted, or maybe worse; so when he pushes his last suspect, a war hero, a bit too hard, he knows his goose is cooked; he covers up the murder, and on down his cover-up spirals that eventually involves an innocent cabbie, the father of Dix's love interest, Morgan, played by the stunning Gene Tierney.



Monday, November 26, 2007

Fallen Angel (1945) graced my DVD player the next day and brought more of the same Preminger grittiness, though this time with a female lead who is much less graceful and pretty than Gene Tierney: Stella (Linda Darnell), the femme fatale who hooks con artist Eric Stanton (Dana Andrews) and inevitably trips him up in a no-win love affair. Stanton sweeps into town and courts the more wholesome hometown girl, June Mills (Alice Faye) who is heir to a small fortune following her parents' deaths, and which is not-so-coincidentally her most attractive feature to the swindling Stanton.

Darnell, who is the town's prostitute (though never overtly referred to as such in the film), is such a transient soul--both physically when she runs away and returns time after time, and emotionally, in her loosely defined love with Stanton--is Eric Stanton's center of gravity. But when she falls out of his life, he loses track of it himself. He's caught in a love triangle with a woman's money (and with a woman who loves him unconditionally) and with the woman who has stolen his heart, the cruel and corrupt Stella. Add in with the mix a murder for which Stanton is being framed, and what you have, once again, is a post-war, post-traumatic stress picture that disseminates Stanton's self-confidence in one quick blink.

Eric Stanton is a drinker in the movie (yet another escape from his unbearable being), and after learning recently that Dana Andrews was an alcoholic, I can't think of a more perfect actor to maintain the portrait of Stanton's male fragility. There's a double-layer to the character in Fallen Angel, kind of a transparency of Andrews's self that brings that extra edge of roughness to the film, and moreover, adds that harshness of reality that seems to sum up the signature of Preminger.

50s Transition Films: Murder By Contract (1958) and The Big Sky (1952)

Once a week since the beginning of September Chicago Reader film critic Jonathan Rosenbaum has introduced films from the 1950s "transition" at the Gene Siskel Film Center. The movie plus a brief introduction and discussion following the film, comes in at a mere $4 (for Film Center Members), making it the best deal in Chicago for cinema. I made it out mid-way through November (finally) for two of the must-see movies on the schedule: Murder By Contract (1958) directed by Irving Lerner, a film said to have influenced Martin Scorsese, Jim Jarmusch and others; and Howard Hawks' The Big Sky (1952). The last film of the year is coming up this Wednesday (12/12) and is sure to please, Jacques Tourneur's Night of the Demon (1957). Actually, the print we will see is a UK version with twelve extra minutes of runtime, and officially titled, Curse of the Demon. No matter what you call it, it will be great; Tourneur is one of the finest horror and noir directors, the same man credited with Cat People (1942) and Out of the Past (1947).


Wednesday, November 14, 2007

Ah, double rates for women, indeed! Claude (Vince Edwards) is a swaggering contract killer who is hired to take out a target, but it isn't a hulky man like he's used to; it's not the kind he can envision like an old enemy of war, this time he's hired to kill a woman. Don't let her slight figure and delicate piano playing fool you, the lady's got a mouth like a sailor, terrorizing her police escorts and body guards with degrading tongue lashings. She's one of a handful of women scripted in the story, and it is no wonder she strikes fear in his heart, she's the only one of them with authority and voice. If we are to draw noir characteristics into the analysis of Murder, pianist Billie Williams (Caprice Toriel) is clearly Claude's femme fatale. He brustles past his two male counterpart, veritable babysitters employed to keep Claude on schedule and at ease, hence outings to the beach and to other Los Angeles attractions. On a one-week deadline to complete his mission Claude relaxes most of his days away until it is finally revealed to him that Billie isn't a man. With only two days left he hastily demands $10,000 to complete the job (up from his original fee of $500, I believe); the rate is guaranteed to him without any mention of why his stock suddenly soars so high in the murder market. The poster illustrates just how close Claude comes to his target, and he fails out of unspoken insecurities with women in general. It might have been the singularly oddest post-war picture of maladjusted men, and is clearly a part of an anxiety-riddled theme in Lerner's other films from the 1950s, none of which I have seen, but whose titles speak volumes: Suicide Attack (1951), Man Crazy (1953), Edge of Fury (1958), and City of Fear (1959).



Wednesday, November 28, 2007

If Hawks' Red River (1948) is homoerotic, The Big Sky is a confident acceptance of male companionship. Kirk Douglas and his much lesser-known co-star Dewey Martin play two comfortable companions on a fur trade expedition up the Missouri River with "Uncle Zeb" (Arthur Hunnicutt), another amiable character who is employed as the film's gentle voiceover narrator. When the story opens with Boone (Dewey Martin) knocking the lights out of Jim (Kirk Douglas) for no apparent reason, we think the movie will be demoted to a series of macho fights that declare superiority. To the contrary, Douglas's character is too calm mannered to care; he really is a guy resigned to the unwieldy western terrain, but he's rather thoughtfully at peace with that fact. And so, with the typical alpha-male tensions dissolved there's room for the characters to live and breathe together, and they are (as the introductory speaker mentioned; not Rosenbaum, who was out of town at a film festival) quite at ease in one another's company. The voiceover narration by Hunnicutt, in his unpretentious and wise country tone, frames the film with a sense of loyalty and male sentimentality rarely seen in a western.

Movie Catch-Up: Eastern Promises, The Exorcist, Deep Red, Control, and Nights of Cabiria

The past two months have seen a tremendous influx in film viewing, and thusly, I am far too backlogged to give each and every film the proper analysis it deserves. That statement means doubly as much for the content of this post, chock-full of cinema geniuses young and old, from Cronenberg and Fellini, to Anton Corbijn, music video vet and director of 2007's Control. So bear with me in the next few updates that bring us right in to Top Ten season. Yes, the Top Ten Best Movies of 2007 are already being calculated and will be up and ready for debate by the end of this month.

Saturday, October 13, 2007

I'm a big David Cronenberg fan and Eastern Promises, the next feature film after his miraculous 2005 movie, A History of Violence, reassures that to the max. The crowing achievement in his new film must be the brutal and fleshy fight scene, in which actor Viggo Mortensen is stripped down to nothing and fights for his life against two large (and clothed) gangsters; not only for the way this scene makes the violence personal, but for the intimate camera of Cronenberg regular Peter Suschitzky, and the superb makeup from Stephan Dupuis (who won an Oscar in 1986 for another Cronenberg vehicle, The Fly), the movie becomes beautiful (yet bloody) in a personal way.


Saturday, October 27, 2007

The weekend before Halloween, a few friends and I met up for a "Horror Movie Marathon," (once one reaches their late twenties there will be no late-night celebrations on Wednesday workdays, apparently) involving cheap champagne, red vines and carrot cake. Combined with our gory double-feature that included Euro-Slasher classic Deep Red and Friedkin's 1973 terror, The Exorcist, naturally we felt sick by 2:00am when we wrapped up. If you haven't seen Italian director Dario Argento's Deep Red (Profondo rosso), please do; it'll give you a jump, and is more artful than exploitative than its horror counterparts. Ditto on The Exorcist, which somehow gets scarier every time you see it.


Tuesday, October 30, 2007

Control is the sort of fiction film that feels so real it could almost be a documentary. It's about Joy Division lead singer, Ian Curtis's rise to stardom before his suicide at age 23, and chronicles his aims at reaching adulthood prematurely: his wedding, the birth of his first child, and his extra-marital affairs. It is the quick rise and fall of a man too frustrated with his youthful identity to patiently grow beyond it, and find greatness. Shot entirely in black and white by Anton Corbijn, who is mostly known for his work in rock documentary and videos--One Night in Paris, not the movie you're probably thinking of, but rather a Depeche Mode concert--is one, and there are more that cover U2 and Metallica also. You can see the director's past genre influence on this film's style, and is a real tribute to Curtis's talent, and a quiet eulogy-in-retrospect on his death. The soundtrack is also phenomenal.


Tuesday, November 8, 2007

Somebody out there that I went to graduate film school with is probably shocked to learn I had never seen Federico Fellini's Nights of Cabiria until early last month. For whomever that may be I refer you to the brief Onion Opinion headline, "Oh My God, You've Never Seen Every Movie Ever Made?" So now that that's out of my system, I should say how lovely Nights is, tender and heartbreaking, but the clownish Cabiria (Giulietta Masina) keeps up our spirits regardless. I doubt there is anyone more adorable in screen history, excepting the male version of herself, Charlie Chaplin. I really loved this movie.