Ida (Pawel Pawlikowski, 2014 10/10
Before she takes the plunge, a novice nun learns she is Jewish and that her parents were murdered. A sub-90 minute, black-and-white film about nuns or Judaism are usually the films I groan at because it's typical Academy fodder, but, man, something about this film is so much more than all that. "Ida" is as great a meditation on identity as any other film on the subject. Our title character, played by Agata Trzebuchowska, is timid and reserved, trying at all times to show how devoted she is to the habit. Even when she's outside the cloister with her aunt, we see she's steadfast in her ways. Trzebuchowska's lean face and simple beauty really aid her performance allowing her to usher in and out an array of small tics and expressions that drive her performance.
And even though the film is called "Ida" and is about Ida herself, the film's other lead is the most compelling. Agata Kulesza plays Ida's aunt Wanda Gruz and, without a doubt, she may be the best-written female character I've seen in years, maybe ever. She's a sea of tropes waiting to be expounded upon and we avoid them all due to Kulezsa's terrific performance. Her performance is completely astonishing in every way; I've been reeling from it since I saw it. It's otherworldly, really.
The cinematography is gorgeous too. It's both very easy and very difficult to get great cinematography out of a black-and-white film - it just depends on how original or clichéd you are. This is very well-done in that regard.
A stunning piece of filmmaking.
Two Days, One Night (Jean-Luc & Pierre Dardenne, 2014) 6/10
A woman must convince her coworkers to give up a large bonus in favor of her keeping her job. This is a bit messy. The film has a ton of potential to be a giant sociological platform and discussion for the ethics of money, complacency, and friendship, but it never quite lives up to that. The film stays rather dull; in a way, it tries too hard to be realistic and this ultimately hurts the film. However, the film's incredibly accurate depiction of depression and Marion Cotillard's brilliant performance of a desperate woman leaven the film to just above mediocrity. And at least they didn't bother to throw in "If you sleep with me, I'll vote for you." That would've ruined the entire film, and, honestly, I expected it all throughout.
Tarzan and His Mate (Cedric Gibbons, 1934) 6/10
Tarzan and Jane are living comfortably in the jungle when past friends of Jane's arrive to poach ivory from an elephant graveyard. Pretty standard '30s adventure film. The effects are good and the use of live animals is quite a spectacle - you could have an entire zoo out of the animal cast. Some of the film is a bit hokey (a hippo saving a shot Tarzan? Really?), but it's all in good fun. The nude swimming scene is justly iconic and tastefully shot. It's the most artistic thing about the film. Other than that, it's nothing too special.
The Babadook (Jennifer Kent, 2014) 7/10
A mysterious figure from a pop-up book starts to haunt a widow and her son. The social media sleeper hit of the year has arrived in "The Babadook." This is just the right kind of horror film we need right now too; no excessive jump scares, not a ton of blood and gore - just a good story and some great acting. That acting mostly comes from Essie Davis whose visceral, downright frightening performance leads the film. It should be getting much more attention (and the film should be too) as it's one of the best horror performances of the last fifteen years. And Noah Wiseman as her child is something else. I have never hated a kid in a movie so much. I wanted to strangle this kid about five minutes in, not because he was bad but because he was, well, realistic. The kid screamed (and I mean screamed) "MOM!!!!!!!" no less than fifty times throughout the film. It's an accurate portrayal of a six or seven-year old boy, but it really could have been toned down for my ears' sake. Also, the craftsmanship that went into making the pop-up book in the film is unimaginable. It may be the most frightening image(s) in the film. A nice little unexpected treat.
The Man Who Knew Too Much (Alfred Hitchcock, 1934) 7/10
An English couple in the Alps for a skeet tournament have their daughter kidnapped to stifle them from revealing an assassination plot they unwittingly discovered. This is the first truly Hitchcockian sound film and the second overall; I'd say "The Lodger" was his first. Its crisp 75-minute runtime allows no time for stuffy, unnecessary subplots to ruin the film and lets the film naturally accelerate all the way to the finish. While the acting is mediocre and uninspired, Peter Lorre does a great job as the head of the assassins working in the shadows. It's more than a typical Lorre performance as he seems to really have fun with his role. I'd say it's his best work behind "M" and "Mad Love." A smoke-filled heart attack of a film.
Roza (Wojciech Smarzowski, 2011) 7/10
A deserter and Polish officer attempts to hide his identity as a hired hand on the farm of a German soldier's widow after he sees his wife raped and murdered by Russian forces. This film is gut-wrenching and brutal. It doesn't shy away or suggest what's happening in its many rape scenes; it shows you right up close how disgusting and vile it all is. It's a very bold bit of direction by Wojciech Smarzowski. The best part of the film, even better than the vivid cinematography, is Agata Kulesza. As the title character, Kulesza imbues a harrowing sense of danger and responsibility. In one scene, the Russian forces are raping a line of women and, while her peers scream and fight, she sits and takes it simply waiting for it to end. Kulesza uses this small scene to set the framework for her whole character creating a deep, intimate portrayal of a scared woman. One of the bleakest and most brutal films I've seen in a while.
Listen Up Philip (Alex Ross Perry, 2014) 8/10
An author awaiting the publication of his second novel spends some time at his idol's house while managing a dying relationship with his girlfriend. While this ain't no "Color Wheel," Alex Ross Perry continues to impress me with his realistic, three-dimensional characters. Philip is, above all things, an asshole, and Jason Schwartzman plays this perfectly. He hits all the right nerves to play a truly grating person. He puts himself before anything, and the sad part is that he knows it but doesn't realize this until he himself learns it (as per the title). And while Schwartzman is great, the best acting (and role) belong to Elisabeth Moss as his girlfriend. Moss plays Ashley with real conviction and seems to be the only person with a real moral compass. She imbues Ashley with such a quiet humility and introverted sadness that it sets her apart from the rest of the cast as well as the rest of Hollywood. A pretty good film by the mumblecore master.
The Hitch-hiker (Ida Lupino, 1953) 7/10
Two men pick up a psychotic hitchhiker who holds them hostage in the borderlands of the States and Mexico. Ida Lupino is very interesting as the only American female consistently making noteworthy movies throughout the '50s. While this is nothing truly special, Lupino manages to get some great shots in and gets great performances out of her cast. Frank Lovejoy and Edmond O'Brien do some pretty standard work, but it's the title character played by William Talman that is truly terrifying. He's menacing even in the way he looks. His contorted expressions and crooked smile disturb us at all turns. It's a remarkable performance. If the film had a stronger script, it would be one of the best of all noir.
All I Desire (Douglas Sirk, 1953) 6/10
A wayward, long-lost mother and stage actress returns to her family for her daughter's graduation and debut in the school play. While the twist is very obvious, the script usually stays on track. The supporting cast is really disappointing with only Maureen O'Sullivan giving a halfway decent performance. Barbara Stanwyck, as usual, gives a good performance as our lead. She plays her role with a mist about her and seems constantly dazed by those approaching her. Black-and-white Sirk is treated unfairly as the director's most iconic work is all in color (though "Thunder on the Hill" deserves more recognition), but I'm not even sure vibrant Technicolor could improve this film. Not bad but not great. A weaker Sirk.
REWATCH: The Sacrament (Ti West, 2014) 4/10
A concerned brother visits his sister who's living in an idealistic compound out of the country. Upon second viewing, it's not any better. The film is very spastic - it uses The Knife's "Heartbeats" in the intro for whatever reason and is really lazy in its transitions, usually word-loading the screen with terrible title cards. So why rewatch this? Because Gene Jones aka the gas station owner in "No Country for Old Men." He's really, really great as the Jim Jones figure in the film. He doesn't get screamy and preachy like you'd expect. He sticks to his "Father" nickname well. It's a turn that deserves a bit of recognition. The film tries way too hard to be Jonestown and not original in its own right. Also, the third act is awful. It focuses on how everyone dies instead of how they had lives, and that is my biggest pet peeve in all horror.
Last of the Comanches (André de Toth, 1953) 7/10
Townsfolk and a wagon train band together after several of their members are killed by the notorious Black Cloud, but when they learn the great chief is without water, they bargain with him to try and stay alive. This is a really interesting Western in that it follows "High Noon"'s trend of the heroes not becoming gunslinging badasses and takes a simpler, more realistic approach. The cast is great led by Broderick Crawford and a very good Barbara Hale. The cinematography is very captivating. The film is good in almost every sense, but it failed to really wow me with anything. If it had tiny little pushes in the right direction, it could easily be a classic Western. However, it's very recommended if you like Westerns at all.
Remember the Night (Mitchell Leisen, 1940) 7/10
An assistant D.A. takes a shoplifter home with him for Christmas when she has nowhere to go. A great and overlooked holiday film. Fred MacMurray and Barbara Stanwyck are great together (as always). Stanwyck especially so. Even the supporting work by Beulah Bondi is great. At times, the film feels a little stagey, but it doesn't completely derail the film. The script is nice and polished and the direction keeps everything moving without halt. A film I'd enjoy rewatching every yuletide season.
The Mortal Storm (Frank Borzage, 1940) 8/10
A family living in the Alps and their friend become divided when the Nazis come to power in the '30s. This film has an all-star cast - James Stewart, Margaret Sullavan, Roland Young, and Frank Morgan put in great work (Morgan especially). The film can be a little bland at parts and get kind of preachy, but Frank Borzage doesn't let that become center stage. He gets the best performances out of his cast that he can since there's nothing incredibly visually appealing about the film; actually, there's a skiing scene that's pretty cool to behold especially for the time period in which this was filmed. Not Borzage's best, and not even one of his five best, but good nonetheless.
Calamity Jane (David Butler, 1953) 8/10
After getting a burlesque performer to come to Deadwood, Calamity Jane comes more in touch with feminine sensibilities and falls in love with Wild Bill Hicock during this process. There is no reason this film should be rated so highly by me. It's a great '50s musical with lots of great color and action and shots all through its running time. It has a medley of great songs ("Secret Love" is too good - a great Oscar winner) and an even better score. But this seems to be like several other musicals of the time, right? Well, for some reason, this stands out to me way more. It's the most fun I've ever had with a musical; and I mean "fun." It's not even close to the brilliance of or filled with the pulsing emotion found in "The Umbrellas of Cherbourg" and it isn't as well-shot and edited as a film like "West Side Story," but, man, this film left me smiling the whole time through. It never got remotely boring or slow which is an upside for a genre known for its constant movement. The costumes are great as well.
And I usually cannot stand sentimental, schmaltzy Doris Day, but she is a total blast here. Whether she's being angry and frustrated or sweet and charming, Day manages to make Calamity a deep, well-rounded character.
This is a total joy.
Still Alice (Richard Glatzer, Wash Westmoreland, 2014) 7/10
A renowned linguist develops early-onset Alzheimer's and starts forgetting words. Yes, it's safe, predictable, and it's easy to spot the obviousness in some of it (a linguist forgetting words - how novel), but it's a well-acted safe and predictable film. Kristen Stewart does a career-best turn here, Alec Baldwin is great in support, but, let's be real, this film is Julianne Moore's and she knows it. Moore owns the film with an intense, very well-thought-out performance. She keeps the dreaded "Julianne Moore signature ugly cry" to a minimum and really illustrates a difficult part of this woman's life without trying too hard. It's a performance that will win her the Oscar and rightfully so. If a great actor/actress is overdue for a win, it's always a delight to see it's for a deserving performance (à la Geraldine Page).
Heaven Knows, Mr. Allison (John Huston, 1957) 6/10
An escaped marine encounters a stranded nun on a Pacific island during WWII. John Huston basically rehashes his "The African Queen" plot as a vehicle for Deborah Kerr and Robert Mitchum to shine in. Mitchum does a great job in a role he could have done in his sleep but turns it into something for sorrowful with an injection of pure bravado to keep things interesting. Deborah Kerr is very good as Sister Angela; she basically does her "Black Narcissus" bit without the excellent script to back her up. She plays a nun very well even if she doesn't quite break out of the type and create a truly interesting character. It's like she's a nun pretending to play a nun. It's very calculated. Other than that, the cinematography is beautiful and that's about it. Very standard fare.
An Affair to Remember (Leo McCarey, 1957) 5/10
A swinging European playboy falls in love with a meek, former nightclub singer on a ship as both head back to America to reunite with their significant others. I'm not as big a fan of this as everyone else it. Cathleen Nesbitt and Cary Grant are fine in dialed-in performances. Deborah Kerr elevates the schmaltzy, saccharine material enough to make the film tolerable. I thought this would be a more realistic, interesting film seeing as it is directed by Leo McCarey whom I'm almost always enjoyed. Instead, we get Deborah Kerr's character being ashamed of her third-act twist and basically dragging the movie on 30 minutes longer than necessary. I don't quite get the hype for this classic. It seems standard matinee filler almost.
REWATCH: Under the Skin (Jonathan Glazer, 2014) 10/10
How did I hate this the first time? Scarlett Johansson is great in a visceral, demanding role. The script, while a tad bland at times, is really engaging. The cinematography is superb. Johansson's scene with the disfigured man is the scene of the year.
The One I Love (Charlie McDowell, 2014) 7/10
A couple trying to rekindle their crumbling marriage stay at a guest house to patch things up when they meet... themselves? And that's all I can really say because anything more would give away just how interesting this film becomes. Elisabeth Moss has had a banner year giving great performances in indie films (here and in Alex Ross Perry's "Listen Up Philip"). She gives a very smart and self-aware performance, whereas Mark Duplass plays the opposite, ignoring the fact that something larger and more threatening is at play and, instead, focuses on the now. Of the two, I'd say Duplass is better. In fact, I'd say Duplass gives one of the best male performances of the year in his dual role. It's very obvious and common to say "he plays two entirely different people," but Duplass does something a little extra - actually a little less. He does try to make a difference between the two Ethans; instead, he only changes tics and minor outlooks. It's a very smart performance by an actor I admire.
The film does fall apart in the third act though. It tries to hard to be overly-twisty, and it gets a little out of hand. It wants it both ways in that it wants all these twists to work while still having this malingering sense of dread over the picture, and it doesn't work.
Still, a really interesting look at a modern portrait of marriage with two (or four?) great performances holding it all together.
Werewolf of London (Stuart Walker, 1935) 5/10
A rare Tibetan flower is all that keeps a scientist from turning into a lycanthrope by the light of the moon. Universal's first werewolf movie is a bit of a bore. Each of the film's cast members thinks the other is the star, so they don't really put any effort into any of the line readings. For what it's worth, the more subtle makeup (than that in the remake "The Wolf Man) and the cinematography are very nice. Otherwise, this is a snoozer.
Magnificent Obsession (John M. Stahl, 1935) 5/10
A gallivanting playboy is using a life-saving device when a well-respected doctor dies from need of the device; he later woos the doctor's widow after he feels guilty for her blinding. The melodrama here falls a bit flat which goes on to prove why Douglas Sirk is such an incredible director. Robert Taylor, in a star-making turn, plays well opposite Irene Dunne though neither are too spectacular. There seems to be no extra effort to make the film look good either. This original version is very ho-hum.
Ruggles of Red Gap (Leo McCarey, 1935) 9/10
A refined English manservant is lost in a gamble to a brash, loud, westward-bound American couple. Charles Laughton gives what may very well be the best performance of his career (though I do love him in "Witness for the Prosecution"). As the title character, Laughton's stifled giggles and sharp one-liners keep the film constantly entertaining. It's a great comedic role from an actor known for heavy drama.
And the film basically lays out what it is to be an American through the audacious, ostentatious characters played by Charlie Ruggles and Mary Boland. As the couple to whom Laughton is serving, they ache of the American spirit and follow wherever manifest destiny demands them. They're two very funny, very great performances. It's really hard to tell which of the three is really the best of the film.
A delight.
The Good Fairy (William Wyler, 1935) 8/10
After being told by her headmistress to be wary of men, a woman leaves the orphanage to get a job as a movie theatre usherette only to make bigger and more ridiculous lies to get out of situations with men. This is a very funny movie. Frank Morgan is great in support, as always, as a meat-packing magnate interested in the main character, but I'd say the best supporting player in the film is Reginald Owen as Margaret Sullavan's confidante and advisor. He's a riot when he's panicked. And Sullavan herself is great as a naïve and beautiful woman taking things far beyond her control. Herbert Marshall is alright though his dreadful beard is majorly distracting. The script is nice as well. Not quite a true blue classic but a valiant effort indeed. A film that deserves to be remembered.
Black Fury (Michael Curtiz, 1935) 5/10
A Polish immigrant becomes the center of a heated mining union dispute. Paul Muni is generally a good actor - his turn in "I Am a Fugitive from a Chain Gang" is phenomenal. But here, he's pretty hammy and over-the-top. Muni can't seem to handle the Polish accent and English dialogue very well. With that major distractor out of the way, the film is merely okay. It's got a cutesy script that should pan out the way it did especially considering the subject. It's not unwatchable, but it's nothing good.
REWATCH: The Informer (John Ford, 1935) 8/10
An Irishman rejected by the IRA informs on his friend for a twenty pound reward and starts regretting it immediately. I read somewhere that, at the time up until "Gone with the Wind," this was considered the greatest American film, and it's easy to see why. John Ford plays around a lot with angles, fog, and shadows to create a moody, uneasy atmosphere. Victor McLaglen is quite great in a well-written role; in fact, almost every role is written well and the cast do an incredible job of bringing all the literary elements together. Everyone except Una "Jar Jar Binks" O'Connor who shatters our eardrums and destroys our brain cells her whole way through her scenes. She has to be one of the worst actresses of all-time. How she was every seen as comedic relief is beyond me. Other than her, a well-made film with no special "wow" moments.
A Night at the Opera (Sam Wood, 1935) 4/10
The Brothers help usher a woman into high society while two opera singers are kept apart. I really wanted to like this - I really did. There are several great one-liners ("Your table's set for four." "My alarm clock is set for eight, but that doesn't prove anything.") as per usual, but this one is almost intolerable. Harpo's ten-minute harp solo is boring and vomit-inducing. The obligatory musical numbers here are no good. And, my God, is the love story we have to sit through absolute tripe. At least there are some good gags. This is the worst of all Marx Brothers films I've seen.
REWATCH: Mutiny on the Bounty (Frank Lloyd, 1935) 6/10
A sailor and his shipmates mutiny against the brutal and tyrannic Captain Bligh. The film has some nice tracking shots, cool sets, and nice costumes. The acting is top notch from Charles Laughton as Bligh as he seems to physically become the part of the tyrant. Franchot Tone is alright in a borderline lead performance doing nothing special to earn accolades. I do think Clark Gable, as okay as he was, was horribly miscast. Yes, Fletcher Christian needs bravado and that is Gable's specialty, but he seems so very out of place at sea, without a mustache, and in such attire. The script has some good lines, but, overall, the film isn't as strong as it should be. It hasn't held up well, though I understand why audiences and critics adored this upon release.
The Lives of a Bengal Lancer (Henry Hathaway, 1935) 5/10
In northwest India, the 41st Bengal Lancers square off against a troublesome rebel leader named Mohammed Khan. Honestly, the film would have worked better with British actors or even British accents. The straightforward American voices seem dull and lifeless and lack any kind of sense of knowledge about what is at hand. And the actors themselves are quite wooden and lax about everything. The script is weak and clichéd, and the direction is bland. The film's technical aspects are quite great though with the editing and sound work being among the best I've seen from the period.
Private Worlds (Gregory La Cava, 1935) 4/10
A female psychiatrist with a knack for helping her patients clashes with her new boss. This film succeeds in dealing with realistic portrayals of mental illness in a time when that wasn't very commonplace. Claudette Colbert's performance is a typical one for her; it feels a bit like every other dramatic role she's done. Where the film bombs is in its screenplay and basic story. The lines are cheesy, but, usually, Colbert (and her castmates like Charles Boyer, Joel McCrea, Joan Bennett, and Helen Vinson who are all good in the film) can elevate the dreck. Not here. It slowly becomes the following:
Boyer: "You are a female and obviously cannot handle big boy things."
Colbert: "But, doctor, I am very good at my job."
Boyer: "Women are dumb and cannot handle big boy things."
Colbert: "But, doctor, I am very good at my job."
... for an hour and a half.
Foxcatcher (Bennett Miller, 2014) 6/10
Two wrestling champions join a dangerous, eccentric multimillionaire's wrestling team. The film isn't mediocre because it was overhyped - it's mediocre because it's nothing special or groundbreaking. That (in)famous review describing it as a seminal masterpiece of what America is, like "Citizen Kane" it says, is no more than quote-whoring. Channing Tatum broods for two hours, so I don't quite get why he's getting any Oscar buzz. The same with Steve Carell. He plays John du Pont in a very standard, straightforward manner. There is absolutely no depth to his character even in his scenes with his mother. Carell is basically being awarded for going against type (which AMPAS loves, mind you). Mark Ruffalo is the only cast member to really make an impression on me, but that impression isn't a lasting one. I simply remember him most because he's the only cast member to look like he was trying to do a good job. And he does. Is it an Oscar-worthy performance? No. Worth a nomination? Not really. The script is alright and the editing is great, but this film is very much overrated.
Last Seen Movie - The Latest Movie You Have Seen; ratings
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
"Men get to be a mixture of the charming mannerisms of the women they have known." - F. Scott Fitzgerald
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Precious Doll
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
The Congress (2013) Ari Folman 7/10
WIlde Salome (2011) Al Pacino 4/10
Nekromantik (1988) Jorg Buttgereit 1/10
Killers (2014) Kimo Stamboel & Timo Tjahjanto 4/10
Abra Cadabra (1983) Alexander Stitt 7/10
Inchon (1982) Terence Young 2/10
The Sun Beaten Path (2011) Sonthar Gyal 4/10
Big Hero 6 (2014) Don Hall & Chris Williams 5/10
Repeat viewings
Predestination (2014) Michael & Peter Spierig 7/10
The Swimmer (1968) Frank Perry 8/10
The Panic in Needle Park (1971) Jerry Schatzberg 6/10
The Day the Earth Caught Fire (1961) Val Guest 6/10
Call Girl (2012) Mikael Marcimain 9/10
Purple Noon (1960) Rene Clement 9/10
Queen Margot (1994) Patrice Chereau 9/10 (Director's Cut)
WIlde Salome (2011) Al Pacino 4/10
Nekromantik (1988) Jorg Buttgereit 1/10
Killers (2014) Kimo Stamboel & Timo Tjahjanto 4/10
Abra Cadabra (1983) Alexander Stitt 7/10
Inchon (1982) Terence Young 2/10
The Sun Beaten Path (2011) Sonthar Gyal 4/10
Big Hero 6 (2014) Don Hall & Chris Williams 5/10
Repeat viewings
Predestination (2014) Michael & Peter Spierig 7/10
The Swimmer (1968) Frank Perry 8/10
The Panic in Needle Park (1971) Jerry Schatzberg 6/10
The Day the Earth Caught Fire (1961) Val Guest 6/10
Call Girl (2012) Mikael Marcimain 9/10
Purple Noon (1960) Rene Clement 9/10
Queen Margot (1994) Patrice Chereau 9/10 (Director's Cut)
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
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Precious Doll
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Snails in the Rain (2013) Yariv Mozer 4/10
Boys (2014) Mischa Kamp 4/10
You and the Night (2013) Yann Gonzalez 4/10
Folies Bergere (2014) Marc Fitoussi 5/10
Exodus: Gods and Kings (2014) Ridley Scott 3/10
Hockney (2014) Randall Wright 7/10
Salome (2013) Al Pacino 4/10
St. Vincent (2014) Theodroe Melfi 5/10
Mr. Turner (2014) Mike Leigh 9/10
Repeat viewing
Ida (2013) Pawel Pawlikowski 10/10
Boys (2014) Mischa Kamp 4/10
You and the Night (2013) Yann Gonzalez 4/10
Folies Bergere (2014) Marc Fitoussi 5/10
Exodus: Gods and Kings (2014) Ridley Scott 3/10
Hockney (2014) Randall Wright 7/10
Salome (2013) Al Pacino 4/10
St. Vincent (2014) Theodroe Melfi 5/10
Mr. Turner (2014) Mike Leigh 9/10
Repeat viewing
Ida (2013) Pawel Pawlikowski 10/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
REWATCH: The Scarlet Empress (Josef von Sternberg, 1934) 10/10
The rise of Princess Sophia Frederica to her ascension as Empress Catherine the Great. Holy cow. I'd seen this once before and really enjoyed it, but, for some reason this time, I have to say that this may be one of the five or so greatest films ever made.
First off, you've got brilliant acting. Louise Dresser is menacing and terrifying as the aging Empress Elizabeth. She's a total monster-in-law whose quick-change facial expressions really go to demonstrate how unstable and ruthless this woman really was. Sam Jaffe, with whom some have a problem in this role, chooses wisely to play Peter as a total half-wit. It's very funny and doesn't feel out-of-place. His line readings are too great and his faces are forever burned into my mind. And, of course, Marlene Dietrich as the timid-turned-confident Empress of Russia. She imbues such a natural, home-cooked personality into this incredibly famous woman; it makes the performance so much more than a typical impression in a biopic. We get to see what Sophia fears and what Catherine desires.
This is also due to the fantastic screenplay which has to be the greatest screenplay for a biography I've ever seen. It really gets down and explores the impulses and driving mechanisms behind every character. This isn't a "greatest hits" like most biopics. It focuses on the behind-the-throne action and this is a brave choice. Also because it's realistic enough to where it doesn't seem like overblown fantasy.
And the technical aspects are more than stunning. If a lit-from-below Marlene Dietrich under a sheer four-poster-bed curtain looking longingly as her lover leaves isn't cinematography at its best, I don't know what else is. There are too many beautiful shots to name (Dietrich's hands around Lodge's back, a man's living body used as the clapper of a massive bell, and a drill coming through an eye in a painting are a few others that completely entranced me). The shadows that surround our characters make us claustrophobic in this grotesque, harlequin, stony estate in which we're being held with Sophia. The production design in this film may be the best I've ever witnessed too. It's so disgustingly lavish and horrifying. It really lends itself to the madness everyone succumbs to, at least a little bit, at some point in the film.
And, for such an early film, the camera moves about in such a glorious way. It looks as if it just floats on air and follows our subjects perfectly, sashaying through halls, inbetween trees, across long dinner tables, etc. It's incredible really.
The film is a clinic in editing as well. From early whipping scenes to wartorn scenes near the end, the film cuts, zooms, focuses on, and captures everything perfectly.
One of the most perfect films ever made.
REWATCH: L'Atalante (Jean Vigo, 1934) 10/10
A new wife, bored by life at sea, falls into the nightlife of the city whenever the title barge comes to port. Films shot this beautifully don't come around very often. Director Jean Vigo takes his time getting the most out of each angle and frame to really emphasize just how lonely and longing these characters are. Dita Parlo's sullen, sunken look is remarkable; it conveys so much more than just emotion. It conveys meaning and being. That look kills me. Jean Dasté doesn't do a lot for me, but it's not really his story, so it doesn't bother me. Michel Simon is a blast though. He brings a great relief and touch of warm heart to the film. He basically reprises his role as Boudu from two years earlier but sets it at sea amongst a bunch of cats. It's raucous, beautiful, and reminds us all of a friend we've had who's just like him. The last minute is one of the most beautifully-crafted, heartwarming, and heartbreaking things ever put to film. Stunning work. "L'Atalante" deserves all its acclaim. A rewatch I do not regret at all.
Pilgrimage (John Ford, 1933) 7/10
A stern mother, who sends her son to the military after disapproving of his wanting to marry, goes to visit her killed-in-action son's grave in Europe. I hadn't read too much on this before watching (a female-driven John Ford film is enough to hook me), so the (un)shocking twist actually got me. The film's title should've given it away, but I was too dumbfounded and lost in Ford's filmmaking to think about it. The rural landscapes and sets are perfect in aiding us understand out main character. And she's played beautifully by Henrietta Crosman who imbues or heroine with such vitriol that fades slowly into regret. It's a wonderful performance. Maybe the most impressive part of it all is that it doesn't (entirely) fall into the sentimental old-person-takes-a-trip movie. Sure there's a pretty useless scene where granny visits a carnival and fires a gun at the shooting gallery, but, really, Ford keeps the story on this one woman and how she manages the torment of having sent her son to his death.
REWATCH: The Thin Man (W. S. Van Dyke, 1934) 8/10
A hard-drinking couple attempt to solve the murder of the title character. Nary a film couple has come close to the charm and charisma of Nick and Nora Charles. They're electrifying even when they're saying sweet nothings. The fact that they're absolutely hammered the entire time makes it all even better. William Powell was only ever more charming in "Jewel Robbery," and I don't think Myrna Loy was ever better - they make beautiful, full characters out of Nick and Nora when the script just calls for a typical Hammett murder mystery. The supporting players are alright, falling into stereotypes of the roles they're given. Really though, focusing on anything other than Powell and Loy is foolish. Great couple or greatest couple?
Viva Villa! (Jack Conway, 1934) 7/10
The story of notorious Mexican bandit and revolutionary Pancho Villa. As usual, Fay Wray is horrible. With that out of the way, the film was a pleasant surprise. Wallace Beery gives one of his best turns as the title character. It's a hearty, cocky, smartly self-aware performance which endears us to the sly Villa. His death scene is so incredibly well-done - I don't think I've seen one like it in some time. The costumes are nicely-detailed, the cinematography is elegant yet rugged, and the framing roams like the plains so frequently showcased. A nice little surprise of a film.
The Count of Monte Cristo (Rowland V. Lee, 1934) 8/10
The classic revenge tale of a wrongfully-imprisoned man disguised as a count to worm his way into his enemies' inner circles. This is the best version of the film that I've seen. Robert Donat, usually so nice and just, is a delight here as a man with a real mission. His charisma is palpable and omnipresent. He has both humanist and self-serving airs about him at all times that really pinpoint what Dantes is all about. Donat gets the complexities of the character down pat. And aside from him, the film is a banquet of lavish set pieces and wonderful period costumes. A real treat. One of my favorite adventure movies.
REWATCH: Of Human Bondage (John Cromwell, 1934) 7/10
The classic story of a club-footed medical student's on-again, off-again relationship with a shrewish gold-digger. The film is handled well, for starters. It seems to be the right pace even though a few scenes drag or could be omitted entirely; most translations of famous novels try to leave the poeticism in without making the effort to capture it in the cinematography in small, sadly wasted scenes. Performance-wise, the film is captivating. This may be Leslie Howard's best work. He's very convincing in his role and plays it with such a sad, confused demeanor that you feel genuinely sympathetic for the guy. Even after his club foot is righted, he's still incredibly hobbled by his love for Mildred. And Mildred, good God, Mildred Rogers. What a shrew! I remember disliking her when I saw this originally, but, holy cow, she absolutely infuriated me this time around. And this, of course, is owed to Bette Davis's incredible turn. Do I agree with the then-contemporary review out of "Life" that says her performance is the greatest captured on film?: no. But it sure is captivating. Davis plays a real monster. It's easily one of her best turns.
Despite the great acting, the rest of the film does feel flat for the few reasons I mentioned before and due to some of the supporting players acting like they're in comedies.
And one more quick thing: Kay Johnson is marvelous in the few scenes she's in. Just wonderful.
Twentieth Century (Howard Hawks, 1934) 8/10
An insane stage director tries to earn back a neurotic actress he drove off to Hollywood so his new show won't flop. What a hoot! Great actors giving great performances doing poor performances. Carole Lombard is quite good fun as the nutty Lily Garland. The performance is a lot of screaming and yelling, as is Barrymore's part, but the major reason it works is due to the incredible screenplay full of acerbic dialogue and a surprising amount of humanism in a film about such scoundrels. And back to Barrymore, this may be John's finest hour. I wasn't head over heels for his meta work in "Dinner at Eight" like most others are, but this right here is a role any actor would kill to have. Barrymore gets to channel every negativity from his career into Oscar Jaffe who is an absolute monster in the most delicious way possible. A real actor's film - the very definition of one, I'd say. A good romp.
The Merry Widow (Ernst Lubitsch, 1934) 7/10
A prince from a small country woos a widow to keep her money in the kingdom. A typical Lubitsch/Chevalier/MacDonald production: it has nice songs (a jukebox musical featuring the music and lyrics of Lehár and Hart), nice costumes, stunning sets, and enough charm to make Cary Grant blush. MacDonald's acting, as usual, isn't impressive. Chevalier's very fun to watch - you can see how full of himself he is. Lubitsch adds his signature touch to the film to make it sexy and funny. Nothing new if you've seen Lubitsch but worth a view nonetheless.
Evergreen (Victor Saville, 1934) 7/10
A daughter, born out of wedlock, poses as her mother for a comeback revue despite her falling in love with whom the public believes to be her son. I wasn't expecting this to be as great a story as it was. It's good to see, in a time full of them, that a baby-born-of-wedlock story can be original. A lot of this is due to Jessie Matthews' great dual role as both Harriets. Her musical numbers are great, yes, but it's her acting that impressed me the most. She makes clear distinctions between the women while playing them in a very similar manner, and I think that is the most wise way to play the women. The costumes are also well-crafted. One of the better backstage dramas of its day, plus it feels like it's right out of a British music hall.
Man of Aran (Robert J. Flaherty, 1934) 6/10
This ethnofiction regards a family who lives and works on the Irish isles in the title. Man, oh, man, where to begin? The film is beautiful shot and edited - this is expected of Flaherty. It creates a real sense of being there but at a distance as if we're watching these people in an ant farm. The story, though not engaging, doesn't really matter. In a way, this is a travelogue. My main problem with the film is its use of sound. It would have been more becoming of Flaherty to keep the film silent. It's creaky and use of sound really threw me out of the film. Maybe it's my fault that I was expecting a silent feature, but it was not handled well at all. It seems like it's being narrated by a really uncreative person who just saw their first episode of "MST3K" a week ago and is speaking it all from the seat next to you. Other than the major faults with the sound and my little caring of the family's fate, the film is another impressive feat in on-location photography.
One More River (James Whale, 1934) 5/10
A lady leaves her brutal husband for a man she meets on a ship. "Love at sea" seems to be a popular recurring theme in the '30s, so this is no exception. I like "One Way Passage" much more, but this one is alright too. James Whale does a great job directing this film and getting just what he wants out of it; it was his personal favorite of all his films. And, much to my surprise, Diana Wynyard is dynamic and dazzling instead of being her usual stiff self. She plays her character with a laid back charm and ease that is very becoming of her. And Colin Clive does great in a smaller role as her brutish husband. There's not much else to look at - Whale offers up a story and we hook on. Not a great film, not even a good film, but a decent romance at the very least.
The Scarlet Pimpernel (Harold Young, 1934) 6/10
An English aristocrat leads a double life as the mysterious Scarlet Pimpernel who tries to thwart Maximilian Robespierre's Reign of Terror. The problem with this is that it was a film from 1934. Early years in film weren't ever really great at sympathizing with the psychology of a woman; because of this, we really miss out on a lot of good, juicy story. It instead focuses on the Pimpernel himself. Not that it's inherently bad for doing so because Leslie Howard is a treat in the role. It's the most relaxed and playful I've ever seen him. Even better than him, though, is Raymond Massey as our lead antagonist. He's quite funny and quite scary in a well-written role. Apart from the acting and the middle-of-the-road direction, the costumes and sets are a real eyeful. The editing is also crisp. A decent film that would be better had it been made twenty, even ten, years later.
Imitation of Life (John M. Stahl, 1934) 6/10
A widow and her housekeeper deal with racial identity and love when they become famous for a pancake mix. While the film is nowhere as great as Sirk's version of the film (then again, how many films are as perfect as that one?), it's still well-done. Louise Beavers is touching in a role deeper, more well-written, and better performed than Hattie McDaniel's Mammy in "Gone with the Wind." Beavers, while dealing with a very big stereotype, manages to flesh out a truly brilliant performance. And her daughter, played by Fredi Washington, is great too if a tad stoic and over-melodramatic (is that a thing?) at times. Claudette Colbert is charming and well-cast, but Warren William is not. You half expect him to sleep with both Colbert's and Beavers' daughters several times throughout, and it really showed in his acting. It's unlike any other role I've seen him in. The sets are great, and the costumes, though simple, are very apropos and elegant. Good but not anywhere near great.
Our Daily Bread (King Vidor, 1934) 4/10
John and Mary Sims, the protagonists from King Vidor's acclaimed film "The Crowd," are hit hard by the Depression and move west to farm with a group of other people. This had a ton of potential, but it got thrown away as soon as the film became the American equivalent of a Russian propaganda film. The film just shows the glories of communism and how great it is instead of creating a truly engaging narrative. Karen Morley is great as usual, but it's Barbara Pepper as the city woman (a combination of the Woman from the City in "Sunrise" and Jean Harlow) who really steals the film. She makes every scene she's in worth watching. And while the script is pretty terrible, the end scene in the manmade river is shot and edited so well that it's easy to forget the first hour of the film is near intolerable at points.
Maps to the Stars (David Cronenberg, 2014) 5/10
An aging actress, an outrageous child actor, his parents, a burnt assistant, and a chauffeur all intertwine in Hollywood. This isn't industry satire; anyone who says so is ridiculous and puttering along with the critics. This is outright hatred for Hollywood. Cronenberg crafts an interesting, although not entirely successful, narrative with a few okay characters and one great one. The great one, of course, is Havana Segrand played wonderfully by Julianne Moore. Trying to resurrect her, as the teens in the film refer to her, "geriatric" career by starring in a remake of one of her mother's films, Segrand is given surprising touches of empathy throughout though we are not supposed to like her one bit. Moore plays her brilliantly containing her hysterics and ugly cries instead of using them the whole film through like the script really wants. Mia Wasikowska is bland as ever as is Robert Pattinson and John Cusack. Olivia Williams has a couple engaging moments though her fate is pretty ridiculous. With tighter direction, a better cast, and much better writing, this could have been one of Cronenberg's best.
Birdman (Alejandro González Iñárritu, 2014) 10/10
A Hollywood actor famous for superhero films desperately tries to reinvent himself by adapting a Raymond Carver story in addition to directing, producing, and starring in it. This is a major, major achievement in film. The way the camera casually pans around yet manages to stay very precise in its direction is astounding. The single-take style of the film is gorgeous and helps us realize the thinness of the boundaries between reality and fantasy in Riggan's mind. The film is a film for actors, a film for director, a film for writers, cinematographers, editors, and everyone else in between.
Michael Keaton is astounding in the lead role. Even without the whole meta aspect of his being Batman and tanking after, he is still pitch perfect in the role of Riggan Thomson injecting him with a certain pathos that really surprised me. And even with Keaton shining, there's still the supporting cast. This is the kind of cast that puts almost every single other movie ever made except "Nashville" to shame. I've never seen a group of actors jell so well together. There's Zach Galifianakis shows that, with proper direction, he can actually be quite a good actor; he provides a moral compass and bubbling anger to the scene. There's Emma Stone who has one hell of a stunning monologue lambasting her father (and the look she has after she's done and regretted saying it all killed me). Her entire role is fairly worthless, but she makes it a real force of nature. There's Andrea Riseborough who, in a really small role, shines every opportunity she gets. There's Naomi Watts who hasn't been this great in a decade. There's Amy Ryan who adds the much-called-for heart to the film in a tender, beautifully-written role.
And then there is Edward Norton who gets to play a mix of Norma Desmond and Dorothy Michaels/Michael Dorsey in what has to be the most purely fun and entertaining role made this year. Mike Shiner is a very complex character, but Norton makes it look so simple and easy to play him. It's a physical and emotional performance full of bawdy and witty humor. Had "Whiplash" and J. K. Simmons not been out this year, the Oscar would most definitely be his.
And the cinematography is a character in an of itself. This Lubeszki work makes "Gravity"'s cinematography look like a dumpster fire. Such smart weaving and whipping and trailing. It's everything right that "Elephant" did wrong when it comes to following people. The film has walk-and-talks that Aaron Sorkin would blush at.
This film has been the only thing I've really been thinking about for days now and for good reason. So far, it's the best film of the year.
Whiplash (Damien Chazelle, 2014) 9/10
A jazz drummer at the world's foremost academy struggles to meet the demands of his brutal teacher. This is absolutely exhilarating. It's a film like this that reminds me why I love jazz so much in the first place. The film's music is impeccable, obviously.
Miles Teller gives a visceral performance in his best work to date. But don't let anyone tell you this film is about anything other than J. K. Simmons who gets to eat up all the delicious scenery for two hours. Simmons is remarkable. What's more, he's most impressive in his quieter scenes than he is when he's frustrated. He also gets some great lines that would make Gunnery Sergeant Hartman blush. It's a very real, emotionally-realized performance that is deserving of all the praise it's getting.
The film is an absolute blast when it comes to editing. The slow, long cuts away from the studio perfectly convey Andrew's, and our, view on the music and austerity of the Shaffer Conservatory. Sadly, this is the kind of film AMPAS will ignore in the Editing department come Oscar time. Here's hoping they pull their heads out of their asses.
My only problem with the film is that it is entirely unrealistic for Fletcher to push Andrew as hard as he did. He says he doesn't want bad players because it reflects on his reputation, yet he's willing to jeopardize everything in front of Carnegie Hall to let Andrew play. Some of the writing doesn't really add up in instances like this; however, there are some brilliant scenes (Andrew and Fletcher talking over a drink at a small jazz club, for one) that really stand out and make the film a glimmering ruby of an indie film.
Gone Girl (David Fincher, 2014) 9/10
A man fights to defend himself from a media circus when his wife disappears. That sounds like several movies that come out each year, but this is so much more than that. Nary a false note is hit, but I'm going to start with a few faults I found in the film.
I think Neil Patrick Harris was poorly cast. His body language and overall presence didn't fit the mood of the film at all. Also, the meet-cute encounters and dialogue between the couple during the opening half-hour seemed really forced and unnatural. It's like ABC Family original movie bad. Nick just comes onto Amy all suave and debonair and amazing without any pauses or minute breaks in dialogue. It was the biggest fault in the writing, and there are a couple others throughout that were annoying as well.
The story itself though. Man. I think this may be the most engaging narrative I've experienced in years. It's rare that my eyes stay glued to a film the whole time through. Usually I'll roll my eyes or look away during a stupid scene, but this one had me thrilled throughout. One of the main thrills, apart from the story itself, was that this is, quite literally, the first Ben Affleck performance I have not actively disliked. He was a really great choice to play Nick. When he's not behind the camera, he doesn't get to play narcissist, and this lets the story flow so much better. And even with Affleck giving a good turn, it is really the girls who run this film. Rosamund Pike is stunning as "Amazing" Amy Elliott Dunne. It's a real harrowing portrayal of mental illness, manipulation, and sheer power. It's the subtle motions of her lips and eyelids that really pulled me in.
But if we're talking females here, the highlight in a film full of highlights has to be newcomer Carrie Coon who is perfect as Nick's sister Margo. Roles like these are why supporting Oscars were invented. Coon takes what could easily be a throwaway role as the sister who helps Nick through it all and turns Margo into a powerful, three-dimensional character. She delivers the razor-sharp dialogue perfectly too. Also, props to costuming for those glasses - they could not have been better for her character.
And then we come to David Fincher himself who is having a blast behind the camera culling all the techniques from his other films to create this. It's also refreshing to see the film isn't clouded in FincherChromeTM cinematography.
A film definitely worth seeing.
The Gay Divorcee (Mark Sandrich, 1934) 6/10
A society woman in the process of divorce mistakes a man's actual affection for acting when he unwittingly gives her a secret password to expedite the split. Pretty typical Rogers/Astaire fare. They'd be a little more tolerable if Astaire could act and sing. Don't get me wrong, the man can dance like no other, but those other two aspects really damper the whole film. The deus ex machina ending is eyeroll-worthy too. Despite those two things and Rogers' blandness, the film is a great showcase of costumes, sets, and supporting characters. Edward Everett Horton is charming and lovely as always, and Eric Blore is nice as a waiter who clears the whole thing up. I did find Erik Rhodes's Italian man annoyingly stereotypical (spoiler: he loves spaghetti). A charming film that cannot quite overcome its leads, though, obviously, they'd come into their own in next year's "Top Hat" and, even later, "Swing Time."
The Affairs of Cellini (Gregory La Cava, 1934) 6/10
A sculptor has an affair with the Duchess of Florence while her daffy husband philanders as well. While the script wanders and misses a lot of comedic marks, the film is still delightful. Fay Wray is pretty much worthless and all the scenes she's in aren't nearly as humorous as the rest of the picture. Constance Bennett's glamour matches the delicate, beautiful set pieces as she's the only one of the four principal actors to really make us feel like we're witnessing high society. Fredric March is good in another rare comedic role; maybe the most intriguing aspect is that March is almost unrecognizable with long hair and a moustache. But, with those three mentioned, the picture belongs to Frank Morgan who is an absolute treat as the bumbling Duke of Florence. It's one of the better bumbling idiot characters I've seen from this period where every comedy seemed to shoehorn one in for production value's sake. Morgan takes the one-note role and turns it into something that makes the picture worth seeing.
And even with all these performances and the shortcomings of the script, the film's costumes and sets are gorgeous. Just enough to make this film more than mediocre.
Charulata (Satyajit Ray, 1964) 9/10
A lonely housewife finds a renewed shot at love when her workaholic husband invites his cousin over to keep her company. This film, more than any other I can think of, uses the sense of scent best. The smell of wet ink, the smell of food, the smell of a person. And the film wouldn't work with any actress other than Madhabi Mukherjee who is astounding and heartbreaking here. This film is subtle to the point that it would make someone like Yasujiro Ozu blush. Its balance of rich simplicity and sophistication is incredible and mostly reinforced by the gorgeous set design. A very human tale. While it is by no means Satyajit Ray's best work (that will always be "The Music Room"), it is still a shining example of the brilliance that radiates out of Indian and Bengali cinema.
It's a Gift (Norman Z. McLeod, 1934) 7/10
A grocer inherits an orange grove in a windfall from his dead uncle. This isn't even so much about that plot as it is the goofy gags that get us to the end of the film as is typical of W. C. Fields films. And while the film is good fun, the gags sure to stay way past their welcome. They run themselves into the ground fairly quickly even though they are pretty funny in the initial minutes. I also see no appeal in Baby LeRoy, so his second billing astounds me; I'll chalk it up to novelty. Kathleen Howard is good as the nagging wife.
The Goddess (Wu Yonggang, 1934) 8/10
A mother turned prostitute fights the prejudices of those around her and the attentions and demands of her unhinged pimp. Another year in the '30s, another east Asian film, another mother/prostitute who unconditionally loves her son. Whether it's pre-Code America or any period of east Asian cinema, that story is one of the most overdone. With that, it's incredibly hard to make it seem vibrant or touching. Films like "Mamma Roma" have done it best, but, here, "The Goddess" proves it's among the highest echelons of this type of story and film. This is mostly due to Ruan Ling-yu's stunning performance as the, in a way, title character. And the title's irony and colloquialism is a nice touch too. Joining Ruan in indelible acting is Zhang Zhizhi as her brutal pimp. Every second they are together is a thrilling one. The two actors really take time to craft their characters and motivations onscreen. The music set to this one is, without a doubt, one of its biggest aspects too; with moving crescendos and staccato percussion, the music really brings something special out in this silent.
Death Takes a Holiday (Mitchell Leisen, 1934) 6/10
Death takes human form to understand why everyone fears him so much and falls in love on the way. While the film itself is kind of lightweight, though not without plenty of potential, the performances are pretty great. Fredric March's turn as the humanized Death is great. Some critics find it awkward, but I think that's the way it needs to be played. Death has no experience as a mortal, so his stumbling through parlor-room politics is very funny. Guy Standing is also great in support as the Duke whose estate on which the events happen. The film feels stagey and rushed in spots, but, overall, it's a good, fun film.
The rise of Princess Sophia Frederica to her ascension as Empress Catherine the Great. Holy cow. I'd seen this once before and really enjoyed it, but, for some reason this time, I have to say that this may be one of the five or so greatest films ever made.
First off, you've got brilliant acting. Louise Dresser is menacing and terrifying as the aging Empress Elizabeth. She's a total monster-in-law whose quick-change facial expressions really go to demonstrate how unstable and ruthless this woman really was. Sam Jaffe, with whom some have a problem in this role, chooses wisely to play Peter as a total half-wit. It's very funny and doesn't feel out-of-place. His line readings are too great and his faces are forever burned into my mind. And, of course, Marlene Dietrich as the timid-turned-confident Empress of Russia. She imbues such a natural, home-cooked personality into this incredibly famous woman; it makes the performance so much more than a typical impression in a biopic. We get to see what Sophia fears and what Catherine desires.
This is also due to the fantastic screenplay which has to be the greatest screenplay for a biography I've ever seen. It really gets down and explores the impulses and driving mechanisms behind every character. This isn't a "greatest hits" like most biopics. It focuses on the behind-the-throne action and this is a brave choice. Also because it's realistic enough to where it doesn't seem like overblown fantasy.
And the technical aspects are more than stunning. If a lit-from-below Marlene Dietrich under a sheer four-poster-bed curtain looking longingly as her lover leaves isn't cinematography at its best, I don't know what else is. There are too many beautiful shots to name (Dietrich's hands around Lodge's back, a man's living body used as the clapper of a massive bell, and a drill coming through an eye in a painting are a few others that completely entranced me). The shadows that surround our characters make us claustrophobic in this grotesque, harlequin, stony estate in which we're being held with Sophia. The production design in this film may be the best I've ever witnessed too. It's so disgustingly lavish and horrifying. It really lends itself to the madness everyone succumbs to, at least a little bit, at some point in the film.
And, for such an early film, the camera moves about in such a glorious way. It looks as if it just floats on air and follows our subjects perfectly, sashaying through halls, inbetween trees, across long dinner tables, etc. It's incredible really.
The film is a clinic in editing as well. From early whipping scenes to wartorn scenes near the end, the film cuts, zooms, focuses on, and captures everything perfectly.
One of the most perfect films ever made.
REWATCH: L'Atalante (Jean Vigo, 1934) 10/10
A new wife, bored by life at sea, falls into the nightlife of the city whenever the title barge comes to port. Films shot this beautifully don't come around very often. Director Jean Vigo takes his time getting the most out of each angle and frame to really emphasize just how lonely and longing these characters are. Dita Parlo's sullen, sunken look is remarkable; it conveys so much more than just emotion. It conveys meaning and being. That look kills me. Jean Dasté doesn't do a lot for me, but it's not really his story, so it doesn't bother me. Michel Simon is a blast though. He brings a great relief and touch of warm heart to the film. He basically reprises his role as Boudu from two years earlier but sets it at sea amongst a bunch of cats. It's raucous, beautiful, and reminds us all of a friend we've had who's just like him. The last minute is one of the most beautifully-crafted, heartwarming, and heartbreaking things ever put to film. Stunning work. "L'Atalante" deserves all its acclaim. A rewatch I do not regret at all.
Pilgrimage (John Ford, 1933) 7/10
A stern mother, who sends her son to the military after disapproving of his wanting to marry, goes to visit her killed-in-action son's grave in Europe. I hadn't read too much on this before watching (a female-driven John Ford film is enough to hook me), so the (un)shocking twist actually got me. The film's title should've given it away, but I was too dumbfounded and lost in Ford's filmmaking to think about it. The rural landscapes and sets are perfect in aiding us understand out main character. And she's played beautifully by Henrietta Crosman who imbues or heroine with such vitriol that fades slowly into regret. It's a wonderful performance. Maybe the most impressive part of it all is that it doesn't (entirely) fall into the sentimental old-person-takes-a-trip movie. Sure there's a pretty useless scene where granny visits a carnival and fires a gun at the shooting gallery, but, really, Ford keeps the story on this one woman and how she manages the torment of having sent her son to his death.
REWATCH: The Thin Man (W. S. Van Dyke, 1934) 8/10
A hard-drinking couple attempt to solve the murder of the title character. Nary a film couple has come close to the charm and charisma of Nick and Nora Charles. They're electrifying even when they're saying sweet nothings. The fact that they're absolutely hammered the entire time makes it all even better. William Powell was only ever more charming in "Jewel Robbery," and I don't think Myrna Loy was ever better - they make beautiful, full characters out of Nick and Nora when the script just calls for a typical Hammett murder mystery. The supporting players are alright, falling into stereotypes of the roles they're given. Really though, focusing on anything other than Powell and Loy is foolish. Great couple or greatest couple?
Viva Villa! (Jack Conway, 1934) 7/10
The story of notorious Mexican bandit and revolutionary Pancho Villa. As usual, Fay Wray is horrible. With that out of the way, the film was a pleasant surprise. Wallace Beery gives one of his best turns as the title character. It's a hearty, cocky, smartly self-aware performance which endears us to the sly Villa. His death scene is so incredibly well-done - I don't think I've seen one like it in some time. The costumes are nicely-detailed, the cinematography is elegant yet rugged, and the framing roams like the plains so frequently showcased. A nice little surprise of a film.
The Count of Monte Cristo (Rowland V. Lee, 1934) 8/10
The classic revenge tale of a wrongfully-imprisoned man disguised as a count to worm his way into his enemies' inner circles. This is the best version of the film that I've seen. Robert Donat, usually so nice and just, is a delight here as a man with a real mission. His charisma is palpable and omnipresent. He has both humanist and self-serving airs about him at all times that really pinpoint what Dantes is all about. Donat gets the complexities of the character down pat. And aside from him, the film is a banquet of lavish set pieces and wonderful period costumes. A real treat. One of my favorite adventure movies.
REWATCH: Of Human Bondage (John Cromwell, 1934) 7/10
The classic story of a club-footed medical student's on-again, off-again relationship with a shrewish gold-digger. The film is handled well, for starters. It seems to be the right pace even though a few scenes drag or could be omitted entirely; most translations of famous novels try to leave the poeticism in without making the effort to capture it in the cinematography in small, sadly wasted scenes. Performance-wise, the film is captivating. This may be Leslie Howard's best work. He's very convincing in his role and plays it with such a sad, confused demeanor that you feel genuinely sympathetic for the guy. Even after his club foot is righted, he's still incredibly hobbled by his love for Mildred. And Mildred, good God, Mildred Rogers. What a shrew! I remember disliking her when I saw this originally, but, holy cow, she absolutely infuriated me this time around. And this, of course, is owed to Bette Davis's incredible turn. Do I agree with the then-contemporary review out of "Life" that says her performance is the greatest captured on film?: no. But it sure is captivating. Davis plays a real monster. It's easily one of her best turns.
Despite the great acting, the rest of the film does feel flat for the few reasons I mentioned before and due to some of the supporting players acting like they're in comedies.
And one more quick thing: Kay Johnson is marvelous in the few scenes she's in. Just wonderful.
Twentieth Century (Howard Hawks, 1934) 8/10
An insane stage director tries to earn back a neurotic actress he drove off to Hollywood so his new show won't flop. What a hoot! Great actors giving great performances doing poor performances. Carole Lombard is quite good fun as the nutty Lily Garland. The performance is a lot of screaming and yelling, as is Barrymore's part, but the major reason it works is due to the incredible screenplay full of acerbic dialogue and a surprising amount of humanism in a film about such scoundrels. And back to Barrymore, this may be John's finest hour. I wasn't head over heels for his meta work in "Dinner at Eight" like most others are, but this right here is a role any actor would kill to have. Barrymore gets to channel every negativity from his career into Oscar Jaffe who is an absolute monster in the most delicious way possible. A real actor's film - the very definition of one, I'd say. A good romp.
The Merry Widow (Ernst Lubitsch, 1934) 7/10
A prince from a small country woos a widow to keep her money in the kingdom. A typical Lubitsch/Chevalier/MacDonald production: it has nice songs (a jukebox musical featuring the music and lyrics of Lehár and Hart), nice costumes, stunning sets, and enough charm to make Cary Grant blush. MacDonald's acting, as usual, isn't impressive. Chevalier's very fun to watch - you can see how full of himself he is. Lubitsch adds his signature touch to the film to make it sexy and funny. Nothing new if you've seen Lubitsch but worth a view nonetheless.
Evergreen (Victor Saville, 1934) 7/10
A daughter, born out of wedlock, poses as her mother for a comeback revue despite her falling in love with whom the public believes to be her son. I wasn't expecting this to be as great a story as it was. It's good to see, in a time full of them, that a baby-born-of-wedlock story can be original. A lot of this is due to Jessie Matthews' great dual role as both Harriets. Her musical numbers are great, yes, but it's her acting that impressed me the most. She makes clear distinctions between the women while playing them in a very similar manner, and I think that is the most wise way to play the women. The costumes are also well-crafted. One of the better backstage dramas of its day, plus it feels like it's right out of a British music hall.
Man of Aran (Robert J. Flaherty, 1934) 6/10
This ethnofiction regards a family who lives and works on the Irish isles in the title. Man, oh, man, where to begin? The film is beautiful shot and edited - this is expected of Flaherty. It creates a real sense of being there but at a distance as if we're watching these people in an ant farm. The story, though not engaging, doesn't really matter. In a way, this is a travelogue. My main problem with the film is its use of sound. It would have been more becoming of Flaherty to keep the film silent. It's creaky and use of sound really threw me out of the film. Maybe it's my fault that I was expecting a silent feature, but it was not handled well at all. It seems like it's being narrated by a really uncreative person who just saw their first episode of "MST3K" a week ago and is speaking it all from the seat next to you. Other than the major faults with the sound and my little caring of the family's fate, the film is another impressive feat in on-location photography.
One More River (James Whale, 1934) 5/10
A lady leaves her brutal husband for a man she meets on a ship. "Love at sea" seems to be a popular recurring theme in the '30s, so this is no exception. I like "One Way Passage" much more, but this one is alright too. James Whale does a great job directing this film and getting just what he wants out of it; it was his personal favorite of all his films. And, much to my surprise, Diana Wynyard is dynamic and dazzling instead of being her usual stiff self. She plays her character with a laid back charm and ease that is very becoming of her. And Colin Clive does great in a smaller role as her brutish husband. There's not much else to look at - Whale offers up a story and we hook on. Not a great film, not even a good film, but a decent romance at the very least.
The Scarlet Pimpernel (Harold Young, 1934) 6/10
An English aristocrat leads a double life as the mysterious Scarlet Pimpernel who tries to thwart Maximilian Robespierre's Reign of Terror. The problem with this is that it was a film from 1934. Early years in film weren't ever really great at sympathizing with the psychology of a woman; because of this, we really miss out on a lot of good, juicy story. It instead focuses on the Pimpernel himself. Not that it's inherently bad for doing so because Leslie Howard is a treat in the role. It's the most relaxed and playful I've ever seen him. Even better than him, though, is Raymond Massey as our lead antagonist. He's quite funny and quite scary in a well-written role. Apart from the acting and the middle-of-the-road direction, the costumes and sets are a real eyeful. The editing is also crisp. A decent film that would be better had it been made twenty, even ten, years later.
Imitation of Life (John M. Stahl, 1934) 6/10
A widow and her housekeeper deal with racial identity and love when they become famous for a pancake mix. While the film is nowhere as great as Sirk's version of the film (then again, how many films are as perfect as that one?), it's still well-done. Louise Beavers is touching in a role deeper, more well-written, and better performed than Hattie McDaniel's Mammy in "Gone with the Wind." Beavers, while dealing with a very big stereotype, manages to flesh out a truly brilliant performance. And her daughter, played by Fredi Washington, is great too if a tad stoic and over-melodramatic (is that a thing?) at times. Claudette Colbert is charming and well-cast, but Warren William is not. You half expect him to sleep with both Colbert's and Beavers' daughters several times throughout, and it really showed in his acting. It's unlike any other role I've seen him in. The sets are great, and the costumes, though simple, are very apropos and elegant. Good but not anywhere near great.
Our Daily Bread (King Vidor, 1934) 4/10
John and Mary Sims, the protagonists from King Vidor's acclaimed film "The Crowd," are hit hard by the Depression and move west to farm with a group of other people. This had a ton of potential, but it got thrown away as soon as the film became the American equivalent of a Russian propaganda film. The film just shows the glories of communism and how great it is instead of creating a truly engaging narrative. Karen Morley is great as usual, but it's Barbara Pepper as the city woman (a combination of the Woman from the City in "Sunrise" and Jean Harlow) who really steals the film. She makes every scene she's in worth watching. And while the script is pretty terrible, the end scene in the manmade river is shot and edited so well that it's easy to forget the first hour of the film is near intolerable at points.
Maps to the Stars (David Cronenberg, 2014) 5/10
An aging actress, an outrageous child actor, his parents, a burnt assistant, and a chauffeur all intertwine in Hollywood. This isn't industry satire; anyone who says so is ridiculous and puttering along with the critics. This is outright hatred for Hollywood. Cronenberg crafts an interesting, although not entirely successful, narrative with a few okay characters and one great one. The great one, of course, is Havana Segrand played wonderfully by Julianne Moore. Trying to resurrect her, as the teens in the film refer to her, "geriatric" career by starring in a remake of one of her mother's films, Segrand is given surprising touches of empathy throughout though we are not supposed to like her one bit. Moore plays her brilliantly containing her hysterics and ugly cries instead of using them the whole film through like the script really wants. Mia Wasikowska is bland as ever as is Robert Pattinson and John Cusack. Olivia Williams has a couple engaging moments though her fate is pretty ridiculous. With tighter direction, a better cast, and much better writing, this could have been one of Cronenberg's best.
Birdman (Alejandro González Iñárritu, 2014) 10/10
A Hollywood actor famous for superhero films desperately tries to reinvent himself by adapting a Raymond Carver story in addition to directing, producing, and starring in it. This is a major, major achievement in film. The way the camera casually pans around yet manages to stay very precise in its direction is astounding. The single-take style of the film is gorgeous and helps us realize the thinness of the boundaries between reality and fantasy in Riggan's mind. The film is a film for actors, a film for director, a film for writers, cinematographers, editors, and everyone else in between.
Michael Keaton is astounding in the lead role. Even without the whole meta aspect of his being Batman and tanking after, he is still pitch perfect in the role of Riggan Thomson injecting him with a certain pathos that really surprised me. And even with Keaton shining, there's still the supporting cast. This is the kind of cast that puts almost every single other movie ever made except "Nashville" to shame. I've never seen a group of actors jell so well together. There's Zach Galifianakis shows that, with proper direction, he can actually be quite a good actor; he provides a moral compass and bubbling anger to the scene. There's Emma Stone who has one hell of a stunning monologue lambasting her father (and the look she has after she's done and regretted saying it all killed me). Her entire role is fairly worthless, but she makes it a real force of nature. There's Andrea Riseborough who, in a really small role, shines every opportunity she gets. There's Naomi Watts who hasn't been this great in a decade. There's Amy Ryan who adds the much-called-for heart to the film in a tender, beautifully-written role.
And then there is Edward Norton who gets to play a mix of Norma Desmond and Dorothy Michaels/Michael Dorsey in what has to be the most purely fun and entertaining role made this year. Mike Shiner is a very complex character, but Norton makes it look so simple and easy to play him. It's a physical and emotional performance full of bawdy and witty humor. Had "Whiplash" and J. K. Simmons not been out this year, the Oscar would most definitely be his.
And the cinematography is a character in an of itself. This Lubeszki work makes "Gravity"'s cinematography look like a dumpster fire. Such smart weaving and whipping and trailing. It's everything right that "Elephant" did wrong when it comes to following people. The film has walk-and-talks that Aaron Sorkin would blush at.
This film has been the only thing I've really been thinking about for days now and for good reason. So far, it's the best film of the year.
Whiplash (Damien Chazelle, 2014) 9/10
A jazz drummer at the world's foremost academy struggles to meet the demands of his brutal teacher. This is absolutely exhilarating. It's a film like this that reminds me why I love jazz so much in the first place. The film's music is impeccable, obviously.
Miles Teller gives a visceral performance in his best work to date. But don't let anyone tell you this film is about anything other than J. K. Simmons who gets to eat up all the delicious scenery for two hours. Simmons is remarkable. What's more, he's most impressive in his quieter scenes than he is when he's frustrated. He also gets some great lines that would make Gunnery Sergeant Hartman blush. It's a very real, emotionally-realized performance that is deserving of all the praise it's getting.
The film is an absolute blast when it comes to editing. The slow, long cuts away from the studio perfectly convey Andrew's, and our, view on the music and austerity of the Shaffer Conservatory. Sadly, this is the kind of film AMPAS will ignore in the Editing department come Oscar time. Here's hoping they pull their heads out of their asses.
My only problem with the film is that it is entirely unrealistic for Fletcher to push Andrew as hard as he did. He says he doesn't want bad players because it reflects on his reputation, yet he's willing to jeopardize everything in front of Carnegie Hall to let Andrew play. Some of the writing doesn't really add up in instances like this; however, there are some brilliant scenes (Andrew and Fletcher talking over a drink at a small jazz club, for one) that really stand out and make the film a glimmering ruby of an indie film.
Gone Girl (David Fincher, 2014) 9/10
A man fights to defend himself from a media circus when his wife disappears. That sounds like several movies that come out each year, but this is so much more than that. Nary a false note is hit, but I'm going to start with a few faults I found in the film.
I think Neil Patrick Harris was poorly cast. His body language and overall presence didn't fit the mood of the film at all. Also, the meet-cute encounters and dialogue between the couple during the opening half-hour seemed really forced and unnatural. It's like ABC Family original movie bad. Nick just comes onto Amy all suave and debonair and amazing without any pauses or minute breaks in dialogue. It was the biggest fault in the writing, and there are a couple others throughout that were annoying as well.
The story itself though. Man. I think this may be the most engaging narrative I've experienced in years. It's rare that my eyes stay glued to a film the whole time through. Usually I'll roll my eyes or look away during a stupid scene, but this one had me thrilled throughout. One of the main thrills, apart from the story itself, was that this is, quite literally, the first Ben Affleck performance I have not actively disliked. He was a really great choice to play Nick. When he's not behind the camera, he doesn't get to play narcissist, and this lets the story flow so much better. And even with Affleck giving a good turn, it is really the girls who run this film. Rosamund Pike is stunning as "Amazing" Amy Elliott Dunne. It's a real harrowing portrayal of mental illness, manipulation, and sheer power. It's the subtle motions of her lips and eyelids that really pulled me in.
But if we're talking females here, the highlight in a film full of highlights has to be newcomer Carrie Coon who is perfect as Nick's sister Margo. Roles like these are why supporting Oscars were invented. Coon takes what could easily be a throwaway role as the sister who helps Nick through it all and turns Margo into a powerful, three-dimensional character. She delivers the razor-sharp dialogue perfectly too. Also, props to costuming for those glasses - they could not have been better for her character.
And then we come to David Fincher himself who is having a blast behind the camera culling all the techniques from his other films to create this. It's also refreshing to see the film isn't clouded in FincherChromeTM cinematography.
A film definitely worth seeing.
The Gay Divorcee (Mark Sandrich, 1934) 6/10
A society woman in the process of divorce mistakes a man's actual affection for acting when he unwittingly gives her a secret password to expedite the split. Pretty typical Rogers/Astaire fare. They'd be a little more tolerable if Astaire could act and sing. Don't get me wrong, the man can dance like no other, but those other two aspects really damper the whole film. The deus ex machina ending is eyeroll-worthy too. Despite those two things and Rogers' blandness, the film is a great showcase of costumes, sets, and supporting characters. Edward Everett Horton is charming and lovely as always, and Eric Blore is nice as a waiter who clears the whole thing up. I did find Erik Rhodes's Italian man annoyingly stereotypical (spoiler: he loves spaghetti). A charming film that cannot quite overcome its leads, though, obviously, they'd come into their own in next year's "Top Hat" and, even later, "Swing Time."
The Affairs of Cellini (Gregory La Cava, 1934) 6/10
A sculptor has an affair with the Duchess of Florence while her daffy husband philanders as well. While the script wanders and misses a lot of comedic marks, the film is still delightful. Fay Wray is pretty much worthless and all the scenes she's in aren't nearly as humorous as the rest of the picture. Constance Bennett's glamour matches the delicate, beautiful set pieces as she's the only one of the four principal actors to really make us feel like we're witnessing high society. Fredric March is good in another rare comedic role; maybe the most intriguing aspect is that March is almost unrecognizable with long hair and a moustache. But, with those three mentioned, the picture belongs to Frank Morgan who is an absolute treat as the bumbling Duke of Florence. It's one of the better bumbling idiot characters I've seen from this period where every comedy seemed to shoehorn one in for production value's sake. Morgan takes the one-note role and turns it into something that makes the picture worth seeing.
And even with all these performances and the shortcomings of the script, the film's costumes and sets are gorgeous. Just enough to make this film more than mediocre.
Charulata (Satyajit Ray, 1964) 9/10
A lonely housewife finds a renewed shot at love when her workaholic husband invites his cousin over to keep her company. This film, more than any other I can think of, uses the sense of scent best. The smell of wet ink, the smell of food, the smell of a person. And the film wouldn't work with any actress other than Madhabi Mukherjee who is astounding and heartbreaking here. This film is subtle to the point that it would make someone like Yasujiro Ozu blush. Its balance of rich simplicity and sophistication is incredible and mostly reinforced by the gorgeous set design. A very human tale. While it is by no means Satyajit Ray's best work (that will always be "The Music Room"), it is still a shining example of the brilliance that radiates out of Indian and Bengali cinema.
It's a Gift (Norman Z. McLeod, 1934) 7/10
A grocer inherits an orange grove in a windfall from his dead uncle. This isn't even so much about that plot as it is the goofy gags that get us to the end of the film as is typical of W. C. Fields films. And while the film is good fun, the gags sure to stay way past their welcome. They run themselves into the ground fairly quickly even though they are pretty funny in the initial minutes. I also see no appeal in Baby LeRoy, so his second billing astounds me; I'll chalk it up to novelty. Kathleen Howard is good as the nagging wife.
The Goddess (Wu Yonggang, 1934) 8/10
A mother turned prostitute fights the prejudices of those around her and the attentions and demands of her unhinged pimp. Another year in the '30s, another east Asian film, another mother/prostitute who unconditionally loves her son. Whether it's pre-Code America or any period of east Asian cinema, that story is one of the most overdone. With that, it's incredibly hard to make it seem vibrant or touching. Films like "Mamma Roma" have done it best, but, here, "The Goddess" proves it's among the highest echelons of this type of story and film. This is mostly due to Ruan Ling-yu's stunning performance as the, in a way, title character. And the title's irony and colloquialism is a nice touch too. Joining Ruan in indelible acting is Zhang Zhizhi as her brutal pimp. Every second they are together is a thrilling one. The two actors really take time to craft their characters and motivations onscreen. The music set to this one is, without a doubt, one of its biggest aspects too; with moving crescendos and staccato percussion, the music really brings something special out in this silent.
Death Takes a Holiday (Mitchell Leisen, 1934) 6/10
Death takes human form to understand why everyone fears him so much and falls in love on the way. While the film itself is kind of lightweight, though not without plenty of potential, the performances are pretty great. Fredric March's turn as the humanized Death is great. Some critics find it awkward, but I think that's the way it needs to be played. Death has no experience as a mortal, so his stumbling through parlor-room politics is very funny. Guy Standing is also great in support as the Duke whose estate on which the events happen. The film feels stagey and rushed in spots, but, overall, it's a good, fun film.
"Men get to be a mixture of the charming mannerisms of the women they have known." - F. Scott Fitzgerald
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Precious Doll
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Blackbird (2013) Jason Buxton 4/10
The Volcano (2013) Alexandre Coffre 1/10
Million Dollar Arm (2014) Craig Gillespie 3/10
The Green Prince (2014) Nadav Schirman 6/10
The One I Love (2014) Charlie McDowell 4/10
The Golden Dream (2013) Diego Quemada-Diez 7/10
The Volcano (2013) Alexandre Coffre 1/10
Million Dollar Arm (2014) Craig Gillespie 3/10
The Green Prince (2014) Nadav Schirman 6/10
The One I Love (2014) Charlie McDowell 4/10
The Golden Dream (2013) Diego Quemada-Diez 7/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
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Precious Doll
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Sex Hunter (1970) Yasuharu Masebe 6/10
Machine Animal (1970) Yashuaru Masebe 4/10
Beat 71 (1971) Toshiya Fujita 2/10
Nightcrawler (2014) Dan Gilroy 6/10
The Captive (2014) Atom Egoyan 4/10
Drum (1976) Steve Carver 6/10
Particle Fever (2014) Mark Levinson 4/10
Repeat viewing
Kiss of the Spider Woman (1985) Hector Babenco 10/10
Machine Animal (1970) Yashuaru Masebe 4/10
Beat 71 (1971) Toshiya Fujita 2/10
Nightcrawler (2014) Dan Gilroy 6/10
The Captive (2014) Atom Egoyan 4/10
Drum (1976) Steve Carver 6/10
Particle Fever (2014) Mark Levinson 4/10
Repeat viewing
Kiss of the Spider Woman (1985) Hector Babenco 10/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
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Precious Doll
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Go For Sisters (2013) John Sayles 5/10
Cold in July (2014) Jim Mickle 4/10
Sacro GRA (2013) Gianfranco Rosi 7/10
Serena (2014) Susanne Bier 1/10
Fat Pizza vs. Housos (2014) Paul Fenech 7/10
Men, Women and Children (2014) Jason Reitman 4/10
Repeat viewings
White of the Eye (1987) Donald Cammell 7/10
The Silence of the Lambs (1991) Jonathan Demme 10/10
Cold in July (2014) Jim Mickle 4/10
Sacro GRA (2013) Gianfranco Rosi 7/10
Serena (2014) Susanne Bier 1/10
Fat Pizza vs. Housos (2014) Paul Fenech 7/10
Men, Women and Children (2014) Jason Reitman 4/10
Repeat viewings
White of the Eye (1987) Donald Cammell 7/10
The Silence of the Lambs (1991) Jonathan Demme 10/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
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Big Magilla
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Every time I try to say something about that movie about Apple Annie I get a 403 Forbidden error so I will just say that it's Jean Parker, not Glenda Farrell who plays her daughter. Glenda Farrell was Warren William's girlfriend.
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
3 reviews, not 30? You're slacking ksrymy. 
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Precious Doll
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
I've Always Loved You (1946) Frank Borzage 6/10
Hide Your Smiling Faces (2014) Daniel Patrick Carbone 6/10
The Kill Team (2014) Dan Krauss 6/10
The Light Shines Only There (2014) Mipo Oh 6/10
Maps to the Stars (2014) David Cronenberg 9/10
Grand Central (2013) Rebecca Zlotowski 2/10
Delinquent Girl Boss (1970) Yasuharu Hasebe 4/10
Finding Vivian Maier (2014) John Maloof & Charlie Siskel 7/10
White God (2014) Komel Mundruczo 9/10
Miss Julie (2014) Liv Ullmann 6/10
Repeat viewing
Network (1976) 7/10
Hide Your Smiling Faces (2014) Daniel Patrick Carbone 6/10
The Kill Team (2014) Dan Krauss 6/10
The Light Shines Only There (2014) Mipo Oh 6/10
Maps to the Stars (2014) David Cronenberg 9/10
Grand Central (2013) Rebecca Zlotowski 2/10
Delinquent Girl Boss (1970) Yasuharu Hasebe 4/10
Finding Vivian Maier (2014) John Maloof & Charlie Siskel 7/10
White God (2014) Komel Mundruczo 9/10
Miss Julie (2014) Liv Ullmann 6/10
Repeat viewing
Network (1976) 7/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
The Theory of Everything (James Marsh, 2014) 2/10
The life of Stephen Hawking and his wife Jane. This is 100% awful, time-of-the-year Oscar bait seeing as AMPAS loves British biopics and all. The film practically screams, "GIVE ME AN OSCAR!" with all its usual, cliché crap.
There's a scene in the first act where Jane Wilde Hawking says, more or less, "That is the most British thing anyone has ever said," and it's funny because that is this movie in a nutshell. It dipped its hand into the bag of Ye Olde Film Tricks and drew out making every color dull except during the ending scene, excessive montage instructing you that it is time to cry, pulling the camera up to reveal that the character feels isolated (multiple times), and extended pause. These tired old tricks are the most useless and boring aspects of the whole movie.
What's more, the film is really just "The Big Bang Theory" for people like Academy voters. There are countless, stupid scenes such as, "Oh, dear! The nerds are talking about the science of sex!," and "Oh, dear! The nerd kissed a girl overly-nervously!," and "Oh, dear! The nerd tripped UP the stairs?! Isn't that novel?!" The script to this thing is filth.
At least Eddie Redmayne is okay. It's an alright physical performance even if he does choose between one or two tics to overemphasize the entire time; any comparisons to Daniel Day-Lewis's turn as Christy Brown are fraudulent and screaming to be noticed and taken seriously. The best part of the film is Felicity Jones who makes a wholly believable character out of Jane Wilde Hawking. Her scenes opposite Charlie Cox are very, very good. It's the one aspect of the film which didn't leave me groaning.
Garbage.
Late Spring (Yasujiro Ozu, 1949) 10/10
A young woman devoted to her father abhors the idea of marriage because it takes away from her time spent tending to him. Forget "Tokyo Story," this is Ozu's masterpiece. The film feels so comfy and lived-in; it's a very casually-realized film. Chishu Ryu does incredible work as the father, but, and it feels obvious to say so, Setsuko Hara is the best thing about the film. I could watch her smile and make shy glances all day long and not get tired of it. And even with those mild physical performances, she captures the spirit and sexuality of Noriko perfectly. Noriko is easily one of the greatest female characters cinema has ever created. Also, the bike scene is marvelous. Truly one of the greatest films cinema has to offer.
Blood Money (Rowland Brown, 1933) 4/10
A bail bondsman deals with several different clients. A really dull crime film with not a lot of thought or logic put into the script. The main reason to see this film is because Judith Anderson's debut is a fantastic one. She steals every scene and makes the film, as a whole, better. George Bancroft sleepwalks his way through the main role. Nothing special here.
The life of Stephen Hawking and his wife Jane. This is 100% awful, time-of-the-year Oscar bait seeing as AMPAS loves British biopics and all. The film practically screams, "GIVE ME AN OSCAR!" with all its usual, cliché crap.
There's a scene in the first act where Jane Wilde Hawking says, more or less, "That is the most British thing anyone has ever said," and it's funny because that is this movie in a nutshell. It dipped its hand into the bag of Ye Olde Film Tricks and drew out making every color dull except during the ending scene, excessive montage instructing you that it is time to cry, pulling the camera up to reveal that the character feels isolated (multiple times), and extended pause. These tired old tricks are the most useless and boring aspects of the whole movie.
What's more, the film is really just "The Big Bang Theory" for people like Academy voters. There are countless, stupid scenes such as, "Oh, dear! The nerds are talking about the science of sex!," and "Oh, dear! The nerd kissed a girl overly-nervously!," and "Oh, dear! The nerd tripped UP the stairs?! Isn't that novel?!" The script to this thing is filth.
At least Eddie Redmayne is okay. It's an alright physical performance even if he does choose between one or two tics to overemphasize the entire time; any comparisons to Daniel Day-Lewis's turn as Christy Brown are fraudulent and screaming to be noticed and taken seriously. The best part of the film is Felicity Jones who makes a wholly believable character out of Jane Wilde Hawking. Her scenes opposite Charlie Cox are very, very good. It's the one aspect of the film which didn't leave me groaning.
Garbage.
Late Spring (Yasujiro Ozu, 1949) 10/10
A young woman devoted to her father abhors the idea of marriage because it takes away from her time spent tending to him. Forget "Tokyo Story," this is Ozu's masterpiece. The film feels so comfy and lived-in; it's a very casually-realized film. Chishu Ryu does incredible work as the father, but, and it feels obvious to say so, Setsuko Hara is the best thing about the film. I could watch her smile and make shy glances all day long and not get tired of it. And even with those mild physical performances, she captures the spirit and sexuality of Noriko perfectly. Noriko is easily one of the greatest female characters cinema has ever created. Also, the bike scene is marvelous. Truly one of the greatest films cinema has to offer.
Blood Money (Rowland Brown, 1933) 4/10
A bail bondsman deals with several different clients. A really dull crime film with not a lot of thought or logic put into the script. The main reason to see this film is because Judith Anderson's debut is a fantastic one. She steals every scene and makes the film, as a whole, better. George Bancroft sleepwalks his way through the main role. Nothing special here.
"Men get to be a mixture of the charming mannerisms of the women they have known." - F. Scott Fitzgerald
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
REWATCH: Morning Glory (Lowell Sherman, 1933) 6/10
A naïve young actress climbs her way up the Broadway hierarchy. The story is uninspired and the script has a couple glowing moments, but, ultimately, this is an actor's film. The supporting men are all very good - Douglas Fairbanks, Jr. in one of his best roles as a passionate playwright, Adolphe Menjou as a stuffy producer, and, especially, C. Aubrey Smith as a tenderhearted veteran and coach to the dazzling Katharine Hepburn. Hepburn herself is quite great. While I don't think she's quite as good here as she was in "Little Women" the same year, she is more than incredible. The noteworthy scene she has, obviously, is her drunk scene opening night. Nobody plays drunk quite as well as Kate - it's because it's a believable drunk and not an overly hammy version of inebriation. The whole cast here is wonderful (also worth mentioning is a bitchy, conniving Mary Duncan as the primadonna actress Hepburn is poised to replace). They all seem to play off each other very well. The script's overall predictability and and basicity are overshadowed by the actors' stellar turns, but the problems still linger.
The Ghoul (T. Hayes Hunter, 1933) 2/10
An Egyptologist comes back from the grave to seek vengeance on those who defiled his tomb. Britain's first all-sound horror flick is a total snooze. It's a really, really, really cheap imitation of "The Mummy" thinly-veiled as a story about the criminal underworld. A steaming turd of a movie with only Boris Karloff's makeup being any kind of noteworthy.
Mary Stevens, M.D. (Lloyd Bacon, 1933) 2/10
A female doctor decides to have a child without being married. This film had potential to be like "Torch Singer," but it turned into a little over an hour of the following:
PERSON: "What?! A FEMALE doctor? No, thank you!"
PERSON 2: "But women can be doctors too! Just as great as male doctors!"
Kay Francis seems incredibly unenthusiastic in this matinee filler.
Torch Singer (Alexander Hall, George Somnes, 1933) 7/10
A lounge singer gives her born-out-of-wedlock child up for adoption and attempts to locate her years later when she becomes a famous radio star. I had no idea how good this was going to be. It's certainly not great, but Claudette Colbert puts her entirety into this role and creates something really beautiful. Of all I've seen by her, I'd say it's her best performance. The film is tinged with Sirkian melodrama that really works quite well when most other melodramatic films from this period are poorly-made; also, I have to promote the one time Colbert worked with Sirk in "Thunder on the Hill" which is a great film. While there are some errors and oversights in the script, the film is a well-told story also featuring the first David Manners performance I've actually enjoyed. But, if you are to watch this for one thing and one thing only, watch it for the magnificent Colbert.
Gold Diggers of 1933 (Mervyn LeRoy, 1933) 8/10
Three broke chorines try to land parts in a new show by a producer whose last revue was closed due to unpaid bills. The opening and closing numbers are really great; the ending one, "Remember My Forgotten Man" is among the best numbers ever shot on film. What's funny is that this, more than any other musical film I've seen, has worked more not necessarily because of the music but because of the script and comedy in the backdrop of it all. Aline MacMahon stands out in that regard more than anyone else. Busby Berkeley's choreography is stunning as always and Mervyn LeRoy adds a fresh bit of direction to a stiff, tired genre. The costumes are as gorgeous as the women in them. A real treat and not something I expected out of a director like LeRoy.
The Music Box (James Parrott, 1932) 10/10
Stan and Ollie must move a large player piano up a massive flight of stairs, into the house at the top of the stairs, and deal with several bothersome people on the way up and in. This is, without a doubt, my favorite Laurel & Hardy bit. While, yes, the gags can get slightly repetitive, they always seem fresh. The giggly nurse, stalwart policeman, and smart alecky postman are all wonderful in small roles, it's Professor Theodore von Schwarzenhoffen, M.D., A.D., D.D.S., F.L.D., F.F.F.F. played by Billy Gilbert who really steals the show as the man whose wife surprises him with the piano in the first place. His histrionics are hilarious as he waddles around his house like a fat Chaplin. The sequences with the piano playing are also inspired and great. I adore this short.
Sons of the Desert (William A. Seiter, 1933) 8/10
Stan and Ollie dupe their wives by pretending to sail to Hawaii while they really participate in a shriners-esque festival in Chicago. This is a very witty, very funny comedy. It's not quite as great as some of their shorts like "Big Business" and "The Music Box," but it's well-done, especially for something feature-length by these two. The wives are even funnier in their theatre and later domestic scenes. The film is brimming with verbal and physical humor and has one of the best endings in all of comedy.
Little Women (George Cukor, 1933) 8/10
The classic American story of the March women while their father is away as a chaplain in the military. First and foremost, the set pieces and detail in this film are extraordinary. Every little detail seems so intricately and purposefully placed, especially when it comes to the art on the walls and the table decorations. This is also the first Katharine Hepburn performance to really stand out to me. She absolutely owns the role of Jo and creates a very real character that I'm sure of which Louisa May Alcott herself would have approved. Hepburn gets a full gauntlet of emotions to display, and she does so with grace and charm. The supporting women are great as well. Jean Parker and Joan Bennett are wonderful as Beth and Amy, respectively, but it's the stalwart Aunt March played by Edna May Oliver that really impresses me most. Sure, it's kind of her normal schtick, but she does it well here and better than in most other similar roles. A good film with great acting showcased throughout.
REWATCH: Cavalcade (Frank Lloyd, 1933) 2/10
A rich British family experiences the troubles of turn-of-the-century England. AMPAS sure loves movies like this; they gave "Forrest Gump" Best Picture too. But while "Gump" can be fun, this film is a godawful bore. Diana Wynyard is stiffer than a hip replacement on a cold night with only the annoying Una O'Connor providing any kind of emotion to the film. It's lazily-written and unbelievable. Very possibly the worst of all Best Picture winners.
The Testament of Dr. Mabuse (Fritz Lang, 1933) 10/10
Dr. Mabuse, now locked in a madhouse, incessantly scratches grandiose schemes onto paper while two law enforcers try to prevent it all from being carried out. This may be the most inventive crime caper I've ever seen. It's great to see something so thoroughly pulpy and wonderful come out of this era where most pulp crime was made solely for money's sake. The effects are very well-done - the spirit of Mabuse as well as some explosions are really cool for a film as early as this one. Fritz Lang's direction here is excellent and a good indicator of where he'd be heading in the '40s and '50s with films like "Scarlet Street," "The Woman in the Window," and "The Big Heat." A very tense, very gripping thriller unlike anything else I've seen from the era (or ever for that matter).
Flying Down to Rio (Thornton Freeland, 1933) 5/10
The leader of a dance-band falls in love with a beautiful Brazilian girl. A really trifling film that is quite unexciting outside of the dance numbers and a desert island scene; Gene Raymond and Dolores del Rio's inner monologues, rather with apparitions of themselves, are quite entertaining compared to the rest of the film. The musical sequences are, of course, very well-done with "The Carioca" the one number that sticks with you. The film really wouldn't be remembered if it weren't the first Ginger Rogers/Fred Astaire pairing.
Queen Christina (Rouben Mamoulian, 1933) 9/10
The life of Sweden's tomboyish queen is examined from her rise to power to her love with a Spanish envoy to her eventual abdication of the throne. I was not expecting too terribly much from this film - period piece biopics have never been my thing. But, holy cow, this was incredibly well-done. I should've known it would be great too because I consistently underrate Rouben Mamoulian of whom I'm finding myself particularly fond. Of course, the film belongs to Greta Garbo who was born to play Christina. She was 28 during the filming of the picture which is the same age as the character she's portraying. She lends enough gravitas to the role to really bolster the whole film's tone and message. It's an absolute delight to see her in a very Shakespearean cross-dressing sequence too. It's a side of her we never really get to see, and, predictably, she's incredible doing it. John Gilbert proves he still had acting chops right up until his death; while his is not as vivid a performance as Garbo's, he still proves beyond the shadow of a doubt that he and Garbo have the best chemistry of the silent and pre-Code era (though Janet Gaynor and Charles Farrell could take that title on any other day). Lewis Stone is great as the queen's confidante too. The script is shining and smooth. One of the best biopics I've seen, for sure.
The Invisible Man (James Whale, 1933) 9/10
A scientist's formula has caused him to become invisible, yet it also starts a downward spiral into madness. Maybe the most underrated of the major Universal monster pictures. The film's major accomplishments (apart from the well-done visual effects) is its suspension of disbelief. When The Invisible Man is strangling people, it seems a real and terrifying event; the film doesn't manage to be so cheesy that we notice the actors are just holding their breaths, straining their faces, and writhing around. That's potent movie magic right there. And Claude Rains's American debut is too incredible. It's a physical performance the likes of which I don't think I've seen outside of a Lon Chaney film. Rains's voice is also perfect for the role - it has the intensity of a madman with the reason of an engineer. It's a crazy great performance. What prevents the film from getting five stars is Una O'Connor's shrieking innkeeper's wife who is the prototype for characters like Jar Jar Binks and "The Temple of Doom"'s Willie. The ears can only take so much, Una.
REWATCH: Lady for a Day (Frank Capra, 1933) 7/10
A dowdy apple peddler uses her clients' advantages to convince her estranged, convent-raised daughter that she is of noble birth. It's about as good as the last time I saw it. It's still a sweet little flick with wonderful characters to boot. May Robson is great in the lead; her full-bodied, charming performance is the crux the film stands on. And even if her performance were subpar, the film has an incredible supporting cast upon which the film can be ballasted. Glenda Farrell as the daughter is lively and sweet, Guy Kibbee does his usual shtick but even better than normal, but, most of all, Warren William steals the show every time he's on-screen. He's ever-charming, sympathetic, and wonderful as a gambler who uses Robson's apples for luck. The costumes are nice and the script isn't too flawed. A real treat that I'm glad I revisited.
Baby Face (Alfred E. Green, 1933) 8/10
A woman uses her body and sexuality to sleep her way to the top of the social ladder. This is a steamy little film. It's very obvious how this is one of the major forces behind the Hays Code. It's very blatant in its sexuality only masking the act itself. The script is good even if it is a tad moralistic. Barbara Stanwyck is a delight - an absolute sensation, though her work in the same year's "The Bitter Tea of General Yen" is even better. This is essential pre-Code.
Mystery of the Wax Museum (Michael Curtiz, 1933) 6/10
A man disfigured in a fire uses fresh corpses for his new "wax" museum. The original "House of Wax" isn't bad at all. The makeup is pretty astounding and the color on it is well-done. The acting is pretty stale except for Glenda Farrell's up-and-at-'em reporter; it's a wonder why she never became a bigger, more serious name. Really though, apart from the technical aspects, it's not too terribly interesting or great.
42nd Street (Lloyd Bacon, 1933) 5/10
A theatrical star's injury allows a newcomer to step into the spotlight right before the new revue starts. I really wanted to like this, but it's just so dull. The backstage drama is overblown and overacted, and the performances of the cast aren't really entertaining. The show's numbers, though, are really splendid. The songs are catchy and sweet, but, man, it's all Busby Berkeley again; the man has got to be the patron saint of choreography (sorry Martha, Twyla, and Bob). His style and gusto are more than extraordinary.
Also, it's a damned shamed that nothing good happens within the first hour of the film.
Warrendale (Allan King, 1967) 8/10
This documentary follows twelve children at a home for disturbed youths. Allan King is a revolutionary filmmaker when it comes to documentaries, and it's easy to see why. His cinéma vérité approach to capturing what all happens at this facility is moving and gripping. The methods of helping the children cope or relax are very questionable, and, the secret to the film, is that it's never really explained why they choose these methods. We just see it unfold in all its horror and glory. It's hard to explain a film shot in such an interesting way. This may also be the most depressing non-Holocaust documentary ever made.
Mighty Like a Moose (Leo McCarey, 1926) 10/10
A very homely couple both get plastic surgery, don't recognize each other, and debate whether or not to cheat with their new faced spouse. This is incredible. I adore this already. A short, two-reel comedy that I strongly believe is better than Chaplin, Keaton, and Lloyd's shorts. I need to seek out more Charley Chase because he is an absolute hoot here channeling a more humorous O. Henry. Chase's sight gags, physical work, and delightful farce create a really wonderful and inspired short.
A naïve young actress climbs her way up the Broadway hierarchy. The story is uninspired and the script has a couple glowing moments, but, ultimately, this is an actor's film. The supporting men are all very good - Douglas Fairbanks, Jr. in one of his best roles as a passionate playwright, Adolphe Menjou as a stuffy producer, and, especially, C. Aubrey Smith as a tenderhearted veteran and coach to the dazzling Katharine Hepburn. Hepburn herself is quite great. While I don't think she's quite as good here as she was in "Little Women" the same year, she is more than incredible. The noteworthy scene she has, obviously, is her drunk scene opening night. Nobody plays drunk quite as well as Kate - it's because it's a believable drunk and not an overly hammy version of inebriation. The whole cast here is wonderful (also worth mentioning is a bitchy, conniving Mary Duncan as the primadonna actress Hepburn is poised to replace). They all seem to play off each other very well. The script's overall predictability and and basicity are overshadowed by the actors' stellar turns, but the problems still linger.
The Ghoul (T. Hayes Hunter, 1933) 2/10
An Egyptologist comes back from the grave to seek vengeance on those who defiled his tomb. Britain's first all-sound horror flick is a total snooze. It's a really, really, really cheap imitation of "The Mummy" thinly-veiled as a story about the criminal underworld. A steaming turd of a movie with only Boris Karloff's makeup being any kind of noteworthy.
Mary Stevens, M.D. (Lloyd Bacon, 1933) 2/10
A female doctor decides to have a child without being married. This film had potential to be like "Torch Singer," but it turned into a little over an hour of the following:
PERSON: "What?! A FEMALE doctor? No, thank you!"
PERSON 2: "But women can be doctors too! Just as great as male doctors!"
Kay Francis seems incredibly unenthusiastic in this matinee filler.
Torch Singer (Alexander Hall, George Somnes, 1933) 7/10
A lounge singer gives her born-out-of-wedlock child up for adoption and attempts to locate her years later when she becomes a famous radio star. I had no idea how good this was going to be. It's certainly not great, but Claudette Colbert puts her entirety into this role and creates something really beautiful. Of all I've seen by her, I'd say it's her best performance. The film is tinged with Sirkian melodrama that really works quite well when most other melodramatic films from this period are poorly-made; also, I have to promote the one time Colbert worked with Sirk in "Thunder on the Hill" which is a great film. While there are some errors and oversights in the script, the film is a well-told story also featuring the first David Manners performance I've actually enjoyed. But, if you are to watch this for one thing and one thing only, watch it for the magnificent Colbert.
Gold Diggers of 1933 (Mervyn LeRoy, 1933) 8/10
Three broke chorines try to land parts in a new show by a producer whose last revue was closed due to unpaid bills. The opening and closing numbers are really great; the ending one, "Remember My Forgotten Man" is among the best numbers ever shot on film. What's funny is that this, more than any other musical film I've seen, has worked more not necessarily because of the music but because of the script and comedy in the backdrop of it all. Aline MacMahon stands out in that regard more than anyone else. Busby Berkeley's choreography is stunning as always and Mervyn LeRoy adds a fresh bit of direction to a stiff, tired genre. The costumes are as gorgeous as the women in them. A real treat and not something I expected out of a director like LeRoy.
The Music Box (James Parrott, 1932) 10/10
Stan and Ollie must move a large player piano up a massive flight of stairs, into the house at the top of the stairs, and deal with several bothersome people on the way up and in. This is, without a doubt, my favorite Laurel & Hardy bit. While, yes, the gags can get slightly repetitive, they always seem fresh. The giggly nurse, stalwart policeman, and smart alecky postman are all wonderful in small roles, it's Professor Theodore von Schwarzenhoffen, M.D., A.D., D.D.S., F.L.D., F.F.F.F. played by Billy Gilbert who really steals the show as the man whose wife surprises him with the piano in the first place. His histrionics are hilarious as he waddles around his house like a fat Chaplin. The sequences with the piano playing are also inspired and great. I adore this short.
Sons of the Desert (William A. Seiter, 1933) 8/10
Stan and Ollie dupe their wives by pretending to sail to Hawaii while they really participate in a shriners-esque festival in Chicago. This is a very witty, very funny comedy. It's not quite as great as some of their shorts like "Big Business" and "The Music Box," but it's well-done, especially for something feature-length by these two. The wives are even funnier in their theatre and later domestic scenes. The film is brimming with verbal and physical humor and has one of the best endings in all of comedy.
Little Women (George Cukor, 1933) 8/10
The classic American story of the March women while their father is away as a chaplain in the military. First and foremost, the set pieces and detail in this film are extraordinary. Every little detail seems so intricately and purposefully placed, especially when it comes to the art on the walls and the table decorations. This is also the first Katharine Hepburn performance to really stand out to me. She absolutely owns the role of Jo and creates a very real character that I'm sure of which Louisa May Alcott herself would have approved. Hepburn gets a full gauntlet of emotions to display, and she does so with grace and charm. The supporting women are great as well. Jean Parker and Joan Bennett are wonderful as Beth and Amy, respectively, but it's the stalwart Aunt March played by Edna May Oliver that really impresses me most. Sure, it's kind of her normal schtick, but she does it well here and better than in most other similar roles. A good film with great acting showcased throughout.
REWATCH: Cavalcade (Frank Lloyd, 1933) 2/10
A rich British family experiences the troubles of turn-of-the-century England. AMPAS sure loves movies like this; they gave "Forrest Gump" Best Picture too. But while "Gump" can be fun, this film is a godawful bore. Diana Wynyard is stiffer than a hip replacement on a cold night with only the annoying Una O'Connor providing any kind of emotion to the film. It's lazily-written and unbelievable. Very possibly the worst of all Best Picture winners.
The Testament of Dr. Mabuse (Fritz Lang, 1933) 10/10
Dr. Mabuse, now locked in a madhouse, incessantly scratches grandiose schemes onto paper while two law enforcers try to prevent it all from being carried out. This may be the most inventive crime caper I've ever seen. It's great to see something so thoroughly pulpy and wonderful come out of this era where most pulp crime was made solely for money's sake. The effects are very well-done - the spirit of Mabuse as well as some explosions are really cool for a film as early as this one. Fritz Lang's direction here is excellent and a good indicator of where he'd be heading in the '40s and '50s with films like "Scarlet Street," "The Woman in the Window," and "The Big Heat." A very tense, very gripping thriller unlike anything else I've seen from the era (or ever for that matter).
Flying Down to Rio (Thornton Freeland, 1933) 5/10
The leader of a dance-band falls in love with a beautiful Brazilian girl. A really trifling film that is quite unexciting outside of the dance numbers and a desert island scene; Gene Raymond and Dolores del Rio's inner monologues, rather with apparitions of themselves, are quite entertaining compared to the rest of the film. The musical sequences are, of course, very well-done with "The Carioca" the one number that sticks with you. The film really wouldn't be remembered if it weren't the first Ginger Rogers/Fred Astaire pairing.
Queen Christina (Rouben Mamoulian, 1933) 9/10
The life of Sweden's tomboyish queen is examined from her rise to power to her love with a Spanish envoy to her eventual abdication of the throne. I was not expecting too terribly much from this film - period piece biopics have never been my thing. But, holy cow, this was incredibly well-done. I should've known it would be great too because I consistently underrate Rouben Mamoulian of whom I'm finding myself particularly fond. Of course, the film belongs to Greta Garbo who was born to play Christina. She was 28 during the filming of the picture which is the same age as the character she's portraying. She lends enough gravitas to the role to really bolster the whole film's tone and message. It's an absolute delight to see her in a very Shakespearean cross-dressing sequence too. It's a side of her we never really get to see, and, predictably, she's incredible doing it. John Gilbert proves he still had acting chops right up until his death; while his is not as vivid a performance as Garbo's, he still proves beyond the shadow of a doubt that he and Garbo have the best chemistry of the silent and pre-Code era (though Janet Gaynor and Charles Farrell could take that title on any other day). Lewis Stone is great as the queen's confidante too. The script is shining and smooth. One of the best biopics I've seen, for sure.
The Invisible Man (James Whale, 1933) 9/10
A scientist's formula has caused him to become invisible, yet it also starts a downward spiral into madness. Maybe the most underrated of the major Universal monster pictures. The film's major accomplishments (apart from the well-done visual effects) is its suspension of disbelief. When The Invisible Man is strangling people, it seems a real and terrifying event; the film doesn't manage to be so cheesy that we notice the actors are just holding their breaths, straining their faces, and writhing around. That's potent movie magic right there. And Claude Rains's American debut is too incredible. It's a physical performance the likes of which I don't think I've seen outside of a Lon Chaney film. Rains's voice is also perfect for the role - it has the intensity of a madman with the reason of an engineer. It's a crazy great performance. What prevents the film from getting five stars is Una O'Connor's shrieking innkeeper's wife who is the prototype for characters like Jar Jar Binks and "The Temple of Doom"'s Willie. The ears can only take so much, Una.
REWATCH: Lady for a Day (Frank Capra, 1933) 7/10
A dowdy apple peddler uses her clients' advantages to convince her estranged, convent-raised daughter that she is of noble birth. It's about as good as the last time I saw it. It's still a sweet little flick with wonderful characters to boot. May Robson is great in the lead; her full-bodied, charming performance is the crux the film stands on. And even if her performance were subpar, the film has an incredible supporting cast upon which the film can be ballasted. Glenda Farrell as the daughter is lively and sweet, Guy Kibbee does his usual shtick but even better than normal, but, most of all, Warren William steals the show every time he's on-screen. He's ever-charming, sympathetic, and wonderful as a gambler who uses Robson's apples for luck. The costumes are nice and the script isn't too flawed. A real treat that I'm glad I revisited.
Baby Face (Alfred E. Green, 1933) 8/10
A woman uses her body and sexuality to sleep her way to the top of the social ladder. This is a steamy little film. It's very obvious how this is one of the major forces behind the Hays Code. It's very blatant in its sexuality only masking the act itself. The script is good even if it is a tad moralistic. Barbara Stanwyck is a delight - an absolute sensation, though her work in the same year's "The Bitter Tea of General Yen" is even better. This is essential pre-Code.
Mystery of the Wax Museum (Michael Curtiz, 1933) 6/10
A man disfigured in a fire uses fresh corpses for his new "wax" museum. The original "House of Wax" isn't bad at all. The makeup is pretty astounding and the color on it is well-done. The acting is pretty stale except for Glenda Farrell's up-and-at-'em reporter; it's a wonder why she never became a bigger, more serious name. Really though, apart from the technical aspects, it's not too terribly interesting or great.
42nd Street (Lloyd Bacon, 1933) 5/10
A theatrical star's injury allows a newcomer to step into the spotlight right before the new revue starts. I really wanted to like this, but it's just so dull. The backstage drama is overblown and overacted, and the performances of the cast aren't really entertaining. The show's numbers, though, are really splendid. The songs are catchy and sweet, but, man, it's all Busby Berkeley again; the man has got to be the patron saint of choreography (sorry Martha, Twyla, and Bob). His style and gusto are more than extraordinary.
Also, it's a damned shamed that nothing good happens within the first hour of the film.
Warrendale (Allan King, 1967) 8/10
This documentary follows twelve children at a home for disturbed youths. Allan King is a revolutionary filmmaker when it comes to documentaries, and it's easy to see why. His cinéma vérité approach to capturing what all happens at this facility is moving and gripping. The methods of helping the children cope or relax are very questionable, and, the secret to the film, is that it's never really explained why they choose these methods. We just see it unfold in all its horror and glory. It's hard to explain a film shot in such an interesting way. This may also be the most depressing non-Holocaust documentary ever made.
Mighty Like a Moose (Leo McCarey, 1926) 10/10
A very homely couple both get plastic surgery, don't recognize each other, and debate whether or not to cheat with their new faced spouse. This is incredible. I adore this already. A short, two-reel comedy that I strongly believe is better than Chaplin, Keaton, and Lloyd's shorts. I need to seek out more Charley Chase because he is an absolute hoot here channeling a more humorous O. Henry. Chase's sight gags, physical work, and delightful farce create a really wonderful and inspired short.
"Men get to be a mixture of the charming mannerisms of the women they have known." - F. Scott Fitzgerald
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Precious Doll
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Well it was a monumental bore and was so derivate of so many better films. I also don't recall a film where virtually all of the major characters start tearing up and crying. Interendless would have been a more appropriate title.ksrymy wrote:Precious Doll wrote:Interstellar (2014) Christopher Nolan 1/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Precious Doll wrote:Interstellar (2014) Christopher Nolan 1/10
"Men get to be a mixture of the charming mannerisms of the women they have known." - F. Scott Fitzgerald
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Precious Doll
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Re: Last Seen Movie - The Latest Movie You Have Seen; rating
Watermark (2013) Jennifer Baichwal & Edward Burtynsky 6/10
The Virginian (1929) Victor Fleming 7/10
Gett: The Trial of Viviane Amsalem (2014) Ronit & Shlomi Elkabetz 6/10
Interstellar (2014) Christopher Nolan 1/10
Let's Be Cops (2014) Luke Greenfield 4/10
The Drop (2014) Michael R. Roskam 2/10
Heterosexual Jill (2014) Michelle Ehlen 4/10
My Old Lady (2014) Israel Horovitz 2/10
Repeat viewings
Lifeforce (1985) Tobe Hooper 7/10
Shivers (1975) David Cronenberg 7/10
Fedora (1978) Billy Wilder 7/10
The Virginian (1929) Victor Fleming 7/10
Gett: The Trial of Viviane Amsalem (2014) Ronit & Shlomi Elkabetz 6/10
Interstellar (2014) Christopher Nolan 1/10
Let's Be Cops (2014) Luke Greenfield 4/10
The Drop (2014) Michael R. Roskam 2/10
Heterosexual Jill (2014) Michelle Ehlen 4/10
My Old Lady (2014) Israel Horovitz 2/10
Repeat viewings
Lifeforce (1985) Tobe Hooper 7/10
Shivers (1975) David Cronenberg 7/10
Fedora (1978) Billy Wilder 7/10
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)