I like The End of Summer a fair bit but I find it and An Autumn Afternoon to be two of his darkest films.
Probably no film has devastated me as much as An Autumn Afternoon. I think in this film he explores his social metaphors with a heavier hand than he does in, say, The End of Summer or Floating Weeds, but there is a finesse in his force and the result is shattering on both a directly emotional and symbolic level. It's probably my favourite Ozu.
Last Seen Movie - The Latest Movie You Have Seen; ratings
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anonymous1980
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Divorce, American Style (Budd Yorkin) - 6.5/10
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
I don't know if you're planning to go in order with Wajda or not, Damien, but The Young Girls of Wilko is probably the single best movie I saw all year (not counting re-watches of my all-time favorites). It's a very sad but wise look at people dealing the disappointments of middle-age, looking back at the past--what happened, and what might have been. Some people consider The Promised Land his best film, but it never quite came together for me--it seemed like a bunch of tangentially related events. That could have to do with the version of it I watched (I think it was 40 minutes shorter than the original). Landscape After Battle and Katyn are both excellent, Everything For Sale is fascinating. Korczak--which was a huge inspiration for Schindler's List--may be his best behind Wilko, although like a lot of his work (especially his work after Danton) it's really hard to find in the States.
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Claire's Knee (Eric Rohmer, 1971)
One of Rohmer’s wisest and most wonderful, a wry contemplation of self-deception and self-servingness and of winding one’s way through the unexpectedness of the every day. A lovely comedy of manners in which the mind struggles with the heart. Beautifully acted, especially by Jean-Claude Brialy in a difficult role – he manages to make his character, despite a certain arrogance, and self-satisfaction, charming and sympathetic.
9/10
=================
End of Summer (Yasujiro Ozu, 1961)
Ozu’s penultimate film is – despite a death – is one of his sunniest. A droll look at family relationships, it is as sagacious as any of his other works, but this time there is a bit of a wink towards the absurdity of familial relations and obligations, which is spoken at one point by Keiju Kobayashi. As with any Ozy film, this picture is just strewn with unforgettable momens, and shows such wisdom about human nature, with affection and humor and affection. Gorgeous color cinematography, beautiful score, and a first-among-equals great performance by Ganjiro Nakamura as a free-spirited old man.
10/10
==================
Ashes and Diamonds
My first encounters with Wajda were back in the early 80s with Man of Iron and Man of Marble which, at the time, bored me as straightforward pieces of social realism/agitprop. But I’ve now seen the War Trilogy and happily acknowledge that Wajda really is a great visual stylist, with a nod to baroque effects. He’s up there with Nicholas Ray and Welles or a more subdued Sam Fuller. And if André Bazin was having a baby over Wyler/Toland’s use of deep focus in The Little Foxes, he’s have quintuplets over Wajda’s use of it. The narrative is a deeply moving account of the ambivalent feelings brought about by the end of the War, with there being conflicting interests between the Polish nationalists and pro-Russian Communists. The movie bristles with intelligence, energy and expense, and is an expert portrait ozone single fateful day. And adding to an atmosphere of emotional and physical alienation there are surrealistic touches hovering about, figures that a lesser director like Fellini would have brought down stage, whereas Wajda leaves them for the viewer to discover for himself. Perhaps more than anything what evidences the greatness of Wajda’s work here is the off-key semi-jazz rendition of the great Polish composer Chopin played at the end of the picture – it symbolizes in such a wondrously understated way the perversion of Polish nationalism and pride that is about to occur with the Soviet occupation. It’s amazing this film past the Commie sensors. A great film, and on its most basic level it’s suspenseful, evocative and compassionate, it’s only flaw being the melodramatic finale.
10/10
==================
Marnie (Alfred Hitchcock 1964)
Hitchcock hearkens back to Spellbound territory, but despite interesting moments it doesn’t quite work. A major problem is the unpleasantness of Tippi Hedren, both in the character and her performance – too bad Constance Towers wasn’t cast – and she and Sean Connery don’t have a great deal of chemistry together – plus, his character doesn’t make a whole lot of sense. In fact, credibility is not the picture’s strong suit, both in matters large and small. Also, the pacing is a bit slack and the use of color filters is almost self-parodistic. Still, the premise is intriguing and the final sequence is a knockout and may be the most compassionate that Hitchcock ever was towards his characters in particular and humankind in general. And if getting there is not always particularly rewarding, the payoff is worth the trip. Great performance by Louise Latham who should have been nominated for a Supporting Actress Oscar.
6/10
===================
Sergeant Rutledge (John Ford 1960)
Minor Ford, but still admirable, and his confrontation against racial prejudice is quite moving. The set pieces are beautifully handled and there are rich characterizations. If ultimately it plays out like a Perry Mason episode, well that’s what makes it minor, but it’s still very entertaining.
6/10
=====================
Sherlock, Jr. (Buster Keaton 1924)
Okay, I admit it. I officially don't get Buster Keaton. There's much creativity and ingeniousness to admire here, but in the end it doesn't add up to much. And even the creativity is sometimes not all that -- for instance, from a technical stnpoint, the changing of scenes in the movie is a tour de force. But it doesnt make sense, because the detective movie he was projecting wouldn't have random nature scenes like that. Also, Keaton's lack of personality leaves me cold. better than Chaplin's self-aggrandizement, of course, but give me Stan and Ollie any day!
6/10
======================
The Romantic Englishwoman (Joseph Losey 1975)
An elegant, witty, sophisticated and literate film about self-awareness, self-doubts, self-deception and perception. The movie is dryly funny and beautifully acted, especially by Jackson who is giving perhaps her loosest screen performance ever and she is wondrous. It also features the greatest thematic use of mirrors of any picture I’ve seen. Unfortunately, the sub-plot of Helmut Berger as a smuggler in trouble is not all that interesting, and the film simply peters out in its final portion as Jackson runs off with him – the devious games of one-upmanship that had pervaded the movie come to a halt and so does the movie. The film throughout is perhaps a little too self-aware of its cleverness and intelligence, but that’s hardly a cardinal sin for such a well-made and interesting movie.
7/10
=======================
An Autumn Afternoon (Yasujiro Ozu 1962)
Re-watched, for the first time in over 30 years, Ozu's final film. It's this most sagacious and compassionate filmmaker at his most sagacious and compassionate, and one of his very best films. A perfect movie, really. The film is small in scope and yet somehow seems to encapsulate the entirety of life. Full of humor and wisdom its understatement is a thing of beauty. Unforgettable characters (the no-nonsense sassy daughter-in-law’s a hoot) and the film features a great, great quiet performance by Chisu Ryû. The elegiac sense of loss is palpable and the film is a masterpiece which was a fitting swan song for the director.
10/10
One of Rohmer’s wisest and most wonderful, a wry contemplation of self-deception and self-servingness and of winding one’s way through the unexpectedness of the every day. A lovely comedy of manners in which the mind struggles with the heart. Beautifully acted, especially by Jean-Claude Brialy in a difficult role – he manages to make his character, despite a certain arrogance, and self-satisfaction, charming and sympathetic.
9/10
=================
End of Summer (Yasujiro Ozu, 1961)
Ozu’s penultimate film is – despite a death – is one of his sunniest. A droll look at family relationships, it is as sagacious as any of his other works, but this time there is a bit of a wink towards the absurdity of familial relations and obligations, which is spoken at one point by Keiju Kobayashi. As with any Ozy film, this picture is just strewn with unforgettable momens, and shows such wisdom about human nature, with affection and humor and affection. Gorgeous color cinematography, beautiful score, and a first-among-equals great performance by Ganjiro Nakamura as a free-spirited old man.
10/10
==================
Ashes and Diamonds
My first encounters with Wajda were back in the early 80s with Man of Iron and Man of Marble which, at the time, bored me as straightforward pieces of social realism/agitprop. But I’ve now seen the War Trilogy and happily acknowledge that Wajda really is a great visual stylist, with a nod to baroque effects. He’s up there with Nicholas Ray and Welles or a more subdued Sam Fuller. And if André Bazin was having a baby over Wyler/Toland’s use of deep focus in The Little Foxes, he’s have quintuplets over Wajda’s use of it. The narrative is a deeply moving account of the ambivalent feelings brought about by the end of the War, with there being conflicting interests between the Polish nationalists and pro-Russian Communists. The movie bristles with intelligence, energy and expense, and is an expert portrait ozone single fateful day. And adding to an atmosphere of emotional and physical alienation there are surrealistic touches hovering about, figures that a lesser director like Fellini would have brought down stage, whereas Wajda leaves them for the viewer to discover for himself. Perhaps more than anything what evidences the greatness of Wajda’s work here is the off-key semi-jazz rendition of the great Polish composer Chopin played at the end of the picture – it symbolizes in such a wondrously understated way the perversion of Polish nationalism and pride that is about to occur with the Soviet occupation. It’s amazing this film past the Commie sensors. A great film, and on its most basic level it’s suspenseful, evocative and compassionate, it’s only flaw being the melodramatic finale.
10/10
==================
Marnie (Alfred Hitchcock 1964)
Hitchcock hearkens back to Spellbound territory, but despite interesting moments it doesn’t quite work. A major problem is the unpleasantness of Tippi Hedren, both in the character and her performance – too bad Constance Towers wasn’t cast – and she and Sean Connery don’t have a great deal of chemistry together – plus, his character doesn’t make a whole lot of sense. In fact, credibility is not the picture’s strong suit, both in matters large and small. Also, the pacing is a bit slack and the use of color filters is almost self-parodistic. Still, the premise is intriguing and the final sequence is a knockout and may be the most compassionate that Hitchcock ever was towards his characters in particular and humankind in general. And if getting there is not always particularly rewarding, the payoff is worth the trip. Great performance by Louise Latham who should have been nominated for a Supporting Actress Oscar.
6/10
===================
Sergeant Rutledge (John Ford 1960)
Minor Ford, but still admirable, and his confrontation against racial prejudice is quite moving. The set pieces are beautifully handled and there are rich characterizations. If ultimately it plays out like a Perry Mason episode, well that’s what makes it minor, but it’s still very entertaining.
6/10
=====================
Sherlock, Jr. (Buster Keaton 1924)
Okay, I admit it. I officially don't get Buster Keaton. There's much creativity and ingeniousness to admire here, but in the end it doesn't add up to much. And even the creativity is sometimes not all that -- for instance, from a technical stnpoint, the changing of scenes in the movie is a tour de force. But it doesnt make sense, because the detective movie he was projecting wouldn't have random nature scenes like that. Also, Keaton's lack of personality leaves me cold. better than Chaplin's self-aggrandizement, of course, but give me Stan and Ollie any day!
6/10
======================
The Romantic Englishwoman (Joseph Losey 1975)
An elegant, witty, sophisticated and literate film about self-awareness, self-doubts, self-deception and perception. The movie is dryly funny and beautifully acted, especially by Jackson who is giving perhaps her loosest screen performance ever and she is wondrous. It also features the greatest thematic use of mirrors of any picture I’ve seen. Unfortunately, the sub-plot of Helmut Berger as a smuggler in trouble is not all that interesting, and the film simply peters out in its final portion as Jackson runs off with him – the devious games of one-upmanship that had pervaded the movie come to a halt and so does the movie. The film throughout is perhaps a little too self-aware of its cleverness and intelligence, but that’s hardly a cardinal sin for such a well-made and interesting movie.
7/10
=======================
An Autumn Afternoon (Yasujiro Ozu 1962)
Re-watched, for the first time in over 30 years, Ozu's final film. It's this most sagacious and compassionate filmmaker at his most sagacious and compassionate, and one of his very best films. A perfect movie, really. The film is small in scope and yet somehow seems to encapsulate the entirety of life. Full of humor and wisdom its understatement is a thing of beauty. Unforgettable characters (the no-nonsense sassy daughter-in-law’s a hoot) and the film features a great, great quiet performance by Chisu Ryû. The elegiac sense of loss is palpable and the film is a masterpiece which was a fitting swan song for the director.
10/10
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
/BANANAS/ (Woody) - 7.5/10
Very funny. You can see a discernible leap from co-writing with Mickey Rose to Marshall Brickman. It becomes a different kind of silly. Aside from one or two sharp moments, the brilliant anarchy of Sleeper and Love and Death is missing. It's topical but it's also apolitical in a way that I suppose all of Woody's films are. No sooner do the rebels attain power that their leader becomes drunk with said power. That Woody does achieve laughter through uprising is pretty impressive it should be said.
And while Louise Lasser is no Diane Keaton, she makes Fielding Melish (INCREDIBLE NAME!)'s quest all the more hilariously singleminded. She's a relatively unattractive woman but she clearly knows how to crack Woody up in a few scenes. Sleeper suffered slightly from the film not knowing what to do with their magical romantic comedy in the center. Bananas is all the funnier because there is none. This man would die to impress any woman.
The film is more consistent than Sleeper but it doesn't reach any of the heights. It's very amusing and I enjoyed it quite a bit.
Very funny. You can see a discernible leap from co-writing with Mickey Rose to Marshall Brickman. It becomes a different kind of silly. Aside from one or two sharp moments, the brilliant anarchy of Sleeper and Love and Death is missing. It's topical but it's also apolitical in a way that I suppose all of Woody's films are. No sooner do the rebels attain power that their leader becomes drunk with said power. That Woody does achieve laughter through uprising is pretty impressive it should be said.
And while Louise Lasser is no Diane Keaton, she makes Fielding Melish (INCREDIBLE NAME!)'s quest all the more hilariously singleminded. She's a relatively unattractive woman but she clearly knows how to crack Woody up in a few scenes. Sleeper suffered slightly from the film not knowing what to do with their magical romantic comedy in the center. Bananas is all the funnier because there is none. This man would die to impress any woman.
The film is more consistent than Sleeper but it doesn't reach any of the heights. It's very amusing and I enjoyed it quite a bit.
"How's the despair?"
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Don 2 (Farhan Akhtar, 2011) 3/10
Dull sequel where Don is involved in a bank robbery. A number of action set pieces that add upto a slow and meandering plot. SRK is ok but Priyanka Chopra, desperately in need of a chill pill, is terribly anal throughout. Boman Irani, Om Puri and Lara Dutta round out the cast while Hrithik Roshan puts in a surprise dead pan appearance. And why isn't there a decent song in the film? A major dissapointment.
Moneyball (Bennett Miller, 2011) 6/10
True story of the Oakland A's manager, Billy Beane, putting together a baseball team using computer generated analyses. Brad Pitt is very charismatic and gets able support by a fine supporting cast, especially the very authentic looking old men (with turkey necks) he is surrounded by.
Dull sequel where Don is involved in a bank robbery. A number of action set pieces that add upto a slow and meandering plot. SRK is ok but Priyanka Chopra, desperately in need of a chill pill, is terribly anal throughout. Boman Irani, Om Puri and Lara Dutta round out the cast while Hrithik Roshan puts in a surprise dead pan appearance. And why isn't there a decent song in the film? A major dissapointment.
Moneyball (Bennett Miller, 2011) 6/10
True story of the Oakland A's manager, Billy Beane, putting together a baseball team using computer generated analyses. Brad Pitt is very charismatic and gets able support by a fine supporting cast, especially the very authentic looking old men (with turkey necks) he is surrounded by.
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anonymous1980
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Das Boot (Wolfgang Petersen) - 8.5/10
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anonymous1980
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Calle Mayor (Juan Antonio Bardem) - 8/10
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Contagion (Steven Soderberg, 2011) 2/10
Somebody please resurrect Irwin Allen who knew how to make such films. Even The Swarm is a masterpiece compared to this piece of crap. A deadly virus (with flu like symptoms) sweeps across the world killing off millions while an all star cast flops about either dying or mouthing assorted medical terms. A special thrill to see Gwyneth Paltrow die in gruesome flip flop mode foaming at the mouth. And since when did Jude Law get a huge gap between his two front teeth? The film gets two points ONLY because the great Kate Winslet is in the film.........although she should be pistol whipped for agreeing to take part in this mess.
A Separation (Asghar Sarhadi, 2011) 5/10
Iran: A couple clashes and separates because the wife wants to leave the country to improve the life of their daughter while the husband has an ailing, elderly father suffering from Alzheimers who cannot be left alone. The film takes off into a different tangent involving a maid who has been hired to look after the old man. Well acted film that somehow seems to have resonated with American critics who can't stop raving about it.
Meet Me in Las Vegas (Roy Rowland, 1956) 5/10
Fluff about a Cowboy and a Ballerina who meet at the gambling tables in Las Vegas. The highlights are all related to the sensational legs and dance numbers of Cyd Charisse.
Lady Ice (Tom Gries, 1973) 2/10
An insurance investigator suspects a woman of dealing in stolen jewels. Slow and dull though Donald Sutherland is good.
No Love For Johnnie (Ralph Thomas, 1961) 6/10
A Member of Parliament is torn between the choice of giving up a career in politics and losing the woman he loves. Extremely rare film with an excellent Peter Finch who won his third (of five) Best Actor BAFTAs. A young Billie Whitelaw (most unlike the demonic Nanny in The Omen) is also very good as the woman spurned by the MP.
Venetian Bird (Ralph Thomas, 1952) 4/10
A private detective gets involved in an assasination plot in Venice. Confusing film that has great location work and steely but stoic Richard Todd.
The Long Memory (Robert Hamer, 1953) 6/10
A man returns from prison seeking revenge from the woman who double crossed him. Stark locations and a very grim John Mills make this interesting to watch.
We Need to Talk About Kevin (Lynne Ramsay, 2011) 6/10
A boy goes on a rampage and massacres a number of children at his school. His mother feels guilty and holds herself responsible. Harrowing drama filmed with constant flash backs taking in the story of the boy's life and his relationship with his mother. Tilda Swinton is magnificent as the guilt ridden and ostracised mother.
The Adventurers (David MacDonald, 1951) 3/10
Basically a Western although set in South Africa in 1902 just after the Boer War. Various individuals are on the hunt for a cache of hidden diamonds. Slow film.
Somebody please resurrect Irwin Allen who knew how to make such films. Even The Swarm is a masterpiece compared to this piece of crap. A deadly virus (with flu like symptoms) sweeps across the world killing off millions while an all star cast flops about either dying or mouthing assorted medical terms. A special thrill to see Gwyneth Paltrow die in gruesome flip flop mode foaming at the mouth. And since when did Jude Law get a huge gap between his two front teeth? The film gets two points ONLY because the great Kate Winslet is in the film.........although she should be pistol whipped for agreeing to take part in this mess.
A Separation (Asghar Sarhadi, 2011) 5/10
Iran: A couple clashes and separates because the wife wants to leave the country to improve the life of their daughter while the husband has an ailing, elderly father suffering from Alzheimers who cannot be left alone. The film takes off into a different tangent involving a maid who has been hired to look after the old man. Well acted film that somehow seems to have resonated with American critics who can't stop raving about it.
Meet Me in Las Vegas (Roy Rowland, 1956) 5/10
Fluff about a Cowboy and a Ballerina who meet at the gambling tables in Las Vegas. The highlights are all related to the sensational legs and dance numbers of Cyd Charisse.
Lady Ice (Tom Gries, 1973) 2/10
An insurance investigator suspects a woman of dealing in stolen jewels. Slow and dull though Donald Sutherland is good.
No Love For Johnnie (Ralph Thomas, 1961) 6/10
A Member of Parliament is torn between the choice of giving up a career in politics and losing the woman he loves. Extremely rare film with an excellent Peter Finch who won his third (of five) Best Actor BAFTAs. A young Billie Whitelaw (most unlike the demonic Nanny in The Omen) is also very good as the woman spurned by the MP.
Venetian Bird (Ralph Thomas, 1952) 4/10
A private detective gets involved in an assasination plot in Venice. Confusing film that has great location work and steely but stoic Richard Todd.
The Long Memory (Robert Hamer, 1953) 6/10
A man returns from prison seeking revenge from the woman who double crossed him. Stark locations and a very grim John Mills make this interesting to watch.
We Need to Talk About Kevin (Lynne Ramsay, 2011) 6/10
A boy goes on a rampage and massacres a number of children at his school. His mother feels guilty and holds herself responsible. Harrowing drama filmed with constant flash backs taking in the story of the boy's life and his relationship with his mother. Tilda Swinton is magnificent as the guilt ridden and ostracised mother.
The Adventurers (David MacDonald, 1951) 3/10
Basically a Western although set in South Africa in 1902 just after the Boer War. Various individuals are on the hunt for a cache of hidden diamonds. Slow film.
Last edited by Reza on Sun Dec 25, 2011 7:41 am, edited 1 time in total.
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anonymous1980
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Little Sister (Robert Jan Westdijk) - 6.5/10
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
The screenplay is probably getting awards consideration because the writer based the story on his own experiences. Sentimental choices are not just for Best Supporting Actor...Reza wrote:Lol.Sonic Youth wrote:Reza, our tastes are so diametrical I'm tempted to see 50/50 this weekend. Tree Of Life is the only Malick film I've ever given a damn about, and Incendies is easily the worst foreign language film I've seen this year. I hated it.
Yes see 50/50........I'd be curious to hear your reaction. There's really nothing wrong with it. It's just that I don't see what's so great about the screenplay that it is getting award attention. I will watch The Tree of Life in its entirety sometime this week. Initially I was a bit confused by the structure of Incendies but I found it riveting. Yes, melodramatic like Midnight Express, but also very moving.
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
How to Lose a Guy in 10 Days (Petrie) - 2/10
It's all about the leads, isn't it? I mean, good writing certainly helps. Watching How to Lose a Guy in 10 Days I couldn't help but think that this isn't a terribly written film at all. Oh sure, it's clichéd from beginning to end, but there is also something winning about two romantic comedy leads playing each other like this. Even if it's not as sharp as it could be, it doesn't have a shot in hell of working with these two. Matthew McConaughey isn't without charm but Kate Hudson is just absolutely loathsome in this film. Has there ever been an actress who went from respectable to the trash bin so quickly? Ugh! I realize that I might have never seen Kate Hudson in a substantial film role since Almost Famous but ye gods is she grating! I don't think this would necessarily have to be a marathon of woman-hating had someone besides Hudson been cast.
It's all about the leads, isn't it? I mean, good writing certainly helps. Watching How to Lose a Guy in 10 Days I couldn't help but think that this isn't a terribly written film at all. Oh sure, it's clichéd from beginning to end, but there is also something winning about two romantic comedy leads playing each other like this. Even if it's not as sharp as it could be, it doesn't have a shot in hell of working with these two. Matthew McConaughey isn't without charm but Kate Hudson is just absolutely loathsome in this film. Has there ever been an actress who went from respectable to the trash bin so quickly? Ugh! I realize that I might have never seen Kate Hudson in a substantial film role since Almost Famous but ye gods is she grating! I don't think this would necessarily have to be a marathon of woman-hating had someone besides Hudson been cast.
"How's the despair?"
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Lol.Sonic Youth wrote:Reza, our tastes are so diametrical I'm tempted to see 50/50 this weekend. Tree Of Life is the only Malick film I've ever given a damn about, and Incendies is easily the worst foreign language film I've seen this year. I hated it.
Yes see 50/50........I'd be curious to hear your reaction. There's really nothing wrong with it. It's just that I don't see what's so great about the screenplay that it is getting award attention. I will watch The Tree of Life in its entirety sometime this week. Initially I was a bit confused by the structure of Incendies but I found it riveting. Yes, melodramatic like Midnight Express, but also very moving.
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Sonic Youth
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Reza, our tastes are so diametrical I'm tempted to see 50/50 this weekend. Tree Of Life is the only Malick film I've ever given a damn about, and Incendies is easily the worst foreign language film I've seen this year. I hated it.
"What the hell?"
Win Butler
Win Butler
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
The Poppy is Also a Flower (Terence Young, 1966) 3/10
The film has a remarkable pedigree, starting with the cast alone. Highlights: Trevor Howard hiding under Angie Dickinson's bed while she stands dripping wrapped in a towel, a drug addled Rita Hayworth, Trini Lopez singing ''Lemon Tree'' and ''La Bamba'' and Anthony Quayle as a seedy ship captain. Lowlights: The silly plot about an investigation of the heroin trade coming out of Iran and the terrible acting by almost everyone in the cast. Based on a story by Ian Fleming. Actually worth watching despite it being terrible.
Escape From Zahrain (Ronald Neame, 1962) 5/10
Brynner plays an escaped revolutionary who crosses a Middle Eastern desert (actually the Mojave desert) with a motley crew of people in a stolen ambulance. They are chased and attacked along the way. James Mason appears, uncredited, in an amusing bit although his character serves no purpose.
Incendies (Denis Villeneuve, 2011) 8/10
Siblings travel to the Middle East (Lebanon?) to discover the haunted past of their mother. Parallel stories of the mother's past and the siblings discovering her life form the basis of the plot. Extremely harrowing with a devastating finale.
The film has a remarkable pedigree, starting with the cast alone. Highlights: Trevor Howard hiding under Angie Dickinson's bed while she stands dripping wrapped in a towel, a drug addled Rita Hayworth, Trini Lopez singing ''Lemon Tree'' and ''La Bamba'' and Anthony Quayle as a seedy ship captain. Lowlights: The silly plot about an investigation of the heroin trade coming out of Iran and the terrible acting by almost everyone in the cast. Based on a story by Ian Fleming. Actually worth watching despite it being terrible.
Escape From Zahrain (Ronald Neame, 1962) 5/10
Brynner plays an escaped revolutionary who crosses a Middle Eastern desert (actually the Mojave desert) with a motley crew of people in a stolen ambulance. They are chased and attacked along the way. James Mason appears, uncredited, in an amusing bit although his character serves no purpose.
Incendies (Denis Villeneuve, 2011) 8/10
Siblings travel to the Middle East (Lebanon?) to discover the haunted past of their mother. Parallel stories of the mother's past and the siblings discovering her life form the basis of the plot. Extremely harrowing with a devastating finale.