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I'm Still Here (2010)
A failed experiment.
Five stars. With some round-up. Why only
five stars? Because it's a sloppily made faux documentary about someone being
an entitled, witless jerk. I say this as a fan of Phoenix's acting. And of
other faux documentaries cut from similar cloth (Spinal Tap, A Mighty Wind,
etc). From a technical standpoint, the film is a mess. A LOT of the dialog
is unintelligible. A lot of the camerawork looks like a bad imitation of
someone who just got his first camcorder. The actual tools at Affleck's
disposal were far better than this, and the footage reminds us of this (the
whole ending sequence, the time-lapse scenery montage stuff). So the lousy
technical stuff was clearly a choice. But it went so far that it hurt the
film. And the subject matter didn't help much either. The idea of an artist
being trapped by success can be the basis of great storytelling, and has
certainly destroyed some very talented people (Brian Wilson!). But reaching an
existential crisis doesn't give a person leave to act like a complete a$$hole to
everyone around them. The film has its moments. Phoenix is a superb actor,
and it really shows in bits like the recording studio scene with Sean Combs. And EJO's scene is worth the price of admission all by itself. But there are
far too few of those moments to overcome the technical and aesthetic flaws that
drag the film down. 29 November 2021.
Riten (1969)
A cinematic fable
Seven stars. This isn't essential Bergman by any means. But it's well worth
watching for Bergman fans. The tiny cast (four speaking parts, with Bergman
himself as a silent priest) and the staging show Bergman's connection to the
theatre. But the way it's shot is pure art-house. Nothing but near shots to
extreme close-ups. And all that intricate framing! Things like the shots of
both Thulin and Bjornstrand (two Bergman regulars, going back to the early 50s,
in absolutely knock-out performances) with Erik Hell's arms around them, coming
down from above. Or the framing of the actors against the carefully chosen
backgrounds in the backstage scene. Any one who comes into this thinking it's
going to be a standard narrative film will be utterly lost by scene 2. It's a
cinematic fable. Complete with a "moral" at the end. Bergman made this in
1969 (for TV! Think about that, given the costuming in the last scene), in the
middle of a period when he was making genre pictures, and clearly wasn't sure
of what he was up to. After the monumental (if flawed) Persona, he stumbled
for about six years before he roared back with Cries and Whispers. This film
fits squarely in with The Hour of the Wolf (gothic horror), Shame (Bergman does
a war film) and The Passion of Anna (an experimental film about disintegrating
relationships), as movies that strike me as experiments for Bergman to work out
what he wants to do. So let's strip things down to the barest minimum -- four
actors, no sets to speak of, no story in any obvious sense. Instead we get
this Kafka-like situation, in which a group of artists are being questioned by
an official about something in their show. No one ever talks about it
directly. In fact, no one ever talks about ANYTHING directly. Even
Abrahamson's confession just beats around the bush. And then we get that last
scene. . . . 24 May 2024.
Go West (1925)
Beautiful Brown-eyes!
Eight stars. Keaton is the greatest physical comedian in the history of cinema. That he had such deadpan aplomb makes it even better. This film doesn't reach
the heights of The General, but very little does. It's basically a shaggy-dog
story that's used as a platform to drape sight-gags around. The stampede
through LA is the bravura set-piece, but the mess-hall stuff, the coyotes,
the branding scene, and so many more, all crackle with manic intensity under
the wrapping of Keaton's stolid just-get-on-with-it presence. I watched this on
a Kino disc with two shorts to go along with the feature. The Scarecrow is a
splendid effort. The batchelor pad reminded me of something out of a George
Melies film, and the antics involved in wooing Sybil Seely's character are
classic silent comedy. I mean, of *course* they run into a preacher with
the motorcycle! What else could possibly happen? The Paleface is a culturally
problematic work these days, but it's still awfully funny. My twelve-year old
son (a BIG Keaton fan) was pretty surprized by a lot of the stereotyping. But
he also laughed a lot. Of course, we also talked about the problems with an
asbestos suit as well. Times change. But people are still people. And funny
is still funny. 11 January 2022.
Amadeus (1984)
One of the best anti-villains ever!
Eight stars. Because, damn, that was bleak! My guess is that the actual
Mozart wasn't quite the idiot-savante that Tom Hulce played him as. But I've
known enough really brilliant people to know that the mix of arrogance and
naivete he portrayed was likely reality. Still, the film belongs to Murray
Abraham. He won that Oscar fair and square. The only real competition was
Albert Finney (I haven't seen Starman). Salieri had to be believable not only
as a villain, but as a man of talent, and of deep love for music. Otherwise
all his Machiavellian manipulations would just seem pointless. I don't know
how much the film makes up its story, but the fundamental lesson is that real
genius cannot be stamped out. Mozart died while still a young man, and is the
only one of the characters than any one remembers now. I don't know if Salieri
was really a villain, or just a by-stander whos light was drowned out by the
genius he found near him. But I do know that Abraham played a part for the
ages. The only other cast members that stood out to me were Elizabeth
Berridge, who began as window-dressing, but got stronger and stronger as the
film progressed, and Jeffrey Jones (one of the only other actors I recognized).
Every now and again, I realize that there are still some stone classics that I
haven't gotten around to watching yet. This was one, and was three hours very
well spent! 14 May 2024.
Sullivan's Travels (1941)
It helps to be rich and famous.
Seven stars. Now and again, I take a look at the AFI list, and queue up
something I've missed. The unusual thing about this one is that I'd not only
missed it, but I'd basically never heard of it. I see why it's considered a
classic. The dialog is brilliant, the staging is top-notch, the idea is a stroke
of loony genius. I was also amused to see that the Coen brothers swiped two
things from this film. The obvious one is "O Brother, Where Art Thou?" The
face-changing portrait is the other. Why only seven stars? One reason is that
Joel McCrea was a stiff. I've noticed that in everything I've ever seen him in. It wasn't a killer here, because Sullivan is supposed to be a little witless. McCrea could do that okay. The other problem is that the message the film
tries to say it portrays keeps on getting subverted by what is actually going on. So it turns into a pretty cynical story as it progresses. Maybe that's the
point. But, at some deep level, the whole thing didn't quite hang together. Still, this is a film that's famous for a bunch of very good reasons. Take a
look! 1 February 2022.
Le Mans (1971)
Worth it for the practical effects shots.
Seven stars. Because the tertiary pseudo love story isn't written well enough
to rise above filler. And because the first twenty minutes REALLY drag. The
biggest plus is the jaw-drop amazing race footage. Both the actual race, and
the staged stuff that makes up the secondary story. Those of you under the age
of thirty or so need to realize that all that material is practical footage,
obtained with actual cameras. No digital trickery at all. The lengths that
the camera crew went to for this movie are epic. And anyone who pays attention
will see those same shots copied thousands of times in every car-chase scene
in every movie made in the last 50 years. Le Mans is worth watching just for
that. But there's also an interesting story about motivation that is wrapped
around the racing footage. I'm not really a racing fan, but I've been a fan of
Steve McQueen's since I was a kid. And this is one I never saw back in the
day, so I decided it was time to take a look. Michael Delaney (McQueen) is
still haunted by his wreck from the year before. McQueen lets us glimpse that
throughout the film, even though it's almost always held in close check.
Delaney is one of the best drivers in the race, and he wants to win. But a
race like Le Mans is always messy. There are egos, there are finicky machines,
there is weather, and there are human foibles. There is a competition between
Delaney and Erich Stahler (Siegfried Rauch), but that is only a sub-text to the
competition between Porsche and Ferrari. The playing out of that competition
is the key to the resolution of the film, and Ronald Leigh-Hunt's brilliant
last line is the pay back. 10 May 2024.
The Beguiled (1971)
Not typical for either Eastwood or Siegel.
Seven stars. Why as many as seven stars? The brilliant gothic atmosphere that Siegel managed to evoke -- very
much out of character for the guy who directed Dirty Harry and Hell is for
Heroes. Rock solid acting from Geraldine Page, Elizabeth Hartman, Jo Ann
Harris, Mae Mercer, and Pamelyn Ferdin. Eastwood turned in a top-notch
performance as well, in a role that pushed out of his comfort zone. He's a
pretty limited actor, but the only director that can get performances out of
him as good as Siegel is Eastwood himself. As McBurney got caught deeper and
deeper in the spiderweb, I kept thinking that I was watching a bodice-ripper
version of Sunset Boulevard. And that's the problem. It was all too cheesy
and obvious. The score kept banging in with "this is BAAAAD!" chords. The
women were just too collectively smitten with McBurney (even the ones who
wanted to kill him outright). McBurney, himself, was too obviously playing his
own con-game. It was a cool idea, and parts of it were really well carried
out. But the flaws were too big for me to ignore. Still, if you are an
Eastwood fan, this is a film you should see. If only to see him play something
VERY different from Blondie or Callahan. 28 February 2022.
Le notti di Cabiria (1957)
Masina plays a part for the ages!
Nine stars. Fellini's character study of a prostitute, desperate for a life
of normal affection, is his second monumental film. La Strada was the first,
and both star Giulietta Masina. I'm not sure any director has ever had a
better muse. Here, Masina carries the picture by herself. There's no one like
Anthony Quinn to help out. And she nails it! She is wiley, naive, playful,
mean, devoted, uncaring, resourceful, and helpless all rolled together. The
scenes with the other prostitutes, waiting around for johns are jubilant and
heartbreaking at the same time. The weird interludes all bring out the sense
of desperation that Cabiria has begun to feel as a woman, now in her 30s, who
makes her living by sex appeal. This includes the restored "man with the bag"
sequence just as vitally as the bit with the movie star, and the church
sequence. I listened to the extra where De Laurentiis talks about taking out
the "man with the bag" because, he said, it stopped the story. He was wrong. It drove a nail into the central woe of Cabiria, who saw there the fate that
awaited her. And, in the face of her nightmare coming true, do we see any
resolution? The mystic closing sequence raises the film from being just a
character study to one that deals with the eternal hope of the human spirit.
The film lost a little from me because of how screechy so much of the dialog
was. But that's a pretty small complaint for a really brilliant film. 26
March 2024.
Marnie (1964)
Not great Hitch, but still well worth watching.
Seven stars. I've heard it said that Hitch never made
another great film after The Birds. This is the only one I've seen, and, so
far, I agree. Marnie is brilliantly shot, with splendid acting from both
Sean Connery (as always!) and Tippi Hedren. Connery was a consumate actor, who
could play pretty much anything, as long as a Scottish accent was okay. Hedren
wasn't in the same league, but Hitch got a second excellent performance out of
her. The rest of the cast are all at least adequate (HEY! It's Bruce Dern! Earliest role of his I've ever seen). The look of the film drew me in from
that very first shot (pure, classic Hitch!). A lot of Hitch's visual/camera
trickery might seem cliche'd now, but that's because so many people have copied
him. What keeps me from calling it a great film is what a mess Mark Rutland
is. He is supposed to be our protagonist, but he's really almost as bent as
Marnie is. And a lot of his behaviour is downright atrocious. This isn't a
complaint about Connery's performance. In his usual fashion, he nails the
part. It's that the character is so compromised that his love-will-win-out
angle is more creepy than romantic. I kept wondering how things would turn
out. This is Hitchcock, after all. So the ending is in doubt until it
happens. And I'm impressed at how Hitch got away with violating The Code so
blatantly. This isn't a brilliant Hitchcock film, but it's well worth
watching for any fan of his or of Connery's. 11 April 2022.
American Gods: Tears of the Wrath-Bearing Tree (2021)
Not an ending. Just a stop.
Five stars. Because of what it isn't. Not an ending, just a stop. And that's
why there was so much story left for season three. I hear that Gaiman and
Whittle are still trying to get someone to step up to do season four. I hope
they manage it. Maybe another five or six episodes, without cutting any major
story corners. This was fine, as far as it went. We get the journey to the
center. Laura gets to cop Steve McQueen. World comes so close to telling
Technical Boy who he really is that everyone should be able to figure it out. And we get Shadow's sacrifice, and the reason behind it. We seem to be missing
the furor amongst the Old Gods that arises from the assassination, but maybe
that comes later. Who knows? Maybe we'll never find out how the show
concludes. Maybe the writers should have paid more attention to story-telling
from the start. 18 March 2024.
Arrival (2016)
An excellent story of the psychology of first contact
Eight stars. The biggest ding from a cinematic standpoint is the characteristic
flaw in Villeneuve's films. It's too dark. Maybe he thinks that makes it
moody. But it really just makes it too dark. There's also some fundamental
violations of basic science that, technically, moves this from "science fiction"
to fantasy. But I still include this in my list of "first contact" films for
my Life in the Universe course. Because most of it is spot-on. Of course the
official reactions would be militaristic. Of course they would be dominated by
paranoia. And, of course, the essential problem is one of communication. So
hinging the film on the attempt of a linguist to get her own people to
understand the situation is the key to the whole story. And Amy Adams does a
magnificent job of playing that character. It's the most honest portrayal of
an academic I've ever seen in cinema. Renner does a fine job as well, at least
after the staggeringly bad cliche' of his first scene. Adams has to confront
the problem of the Heptapod language, but her essential challenge is the
behavior of her own government. That's why it is so important that the
military chief and the CIA operative were also played by brilliant actors at
the top of their games. Forest Whitaker has been doing excellent work for 40
years now, and Michael Stuhlbarg for at least 20. Even though it's shot WAY
too dark, and even though the science veers into outright nonsense, it's an
insightful study of the response to first contact, with superlative acting at
the top of the bill. This is very much a film worth watching. 6 May 2022.
American Gods: The Lake Effect (2021)
A rush to the finish?
Nine stars. There's a TON of book in this episode. That's what makes it so
good. There's also a sense of desperation showing in a rush to the finish.
Shadow does his research, and figures out what no one wants to know. It takes
him to the core of the Lakeside mystery. Although justifying Ganesh by turning
it into a bad pun was a lousy bit of writing. I was hoping to actually see the
Kobold, but I guess they didn't want to spend the money on the CG for it. We
finally get the peace conference between Odin and World, and it turns out as it
must. It was a good choice not to have if off-stage, as it was in the book. The inevitable resolution of Laura's revenge fixation wraps this one up. That
leaves one episode to go, and a ton of story to tie up. This looks bad. One
episode clearly isn't enough, but that's all we've got. 15 March 2024.
Kris (1946)
A master's first film, but by no means a masterpiece
Six stars. Some directors explode out of the gates
(Welles, for instance). Bergman did not. Crisis has some great nuggets, that
presage the brilliance to come. But it's a mediocre film. I think the
audience is supposed to view Ingeborg and Ulf as protagonists. But they are
both selfish and witless. For that matter, so are Nelly, Jack, and Jenny. And
the message is? The city is dangerous? Don't dream big? Just stay in your
hick town and marry who ever is most available? I basically hated the story.
That said, there was a LOT of good acting, and a lot of good camera work. But,
like all the Bergman I've seen that's earlier than Summer Interlude, it seems
like a parody of a mature Bergman film. I'm going to end on an upbeat though,
extolling those breathtaking noir shots at the climax. This was the starting
point of a brilliant career. It's not a brilliant movie, but it's not a bad
starting point either. 6 June 2022.
American Gods: The Rapture of Burning (2021)
Sweeney Junior
Seven stars. Maybe only six. Sure, why not the Rabbit God? The more the
merrier, right? And it gives us a milieu to deal with Salim in a way that
makes some sense. It also leads to Laura's connection with Sweeney Junior. Liam's okay, I guess. And Iwan Rheon is a good actor. But he's such a bland
come-down after Sweeney. Tyr's play is revealed, to no surprize if anyone was
paying attention. And the confrontation between Tyr and Odin plays out exactly
as one would guess, given the participants. The Technical Boy/Bilquis
hallucination was awesome! The story is aiming at a sort of synthesis of Old
and New that Gaiman never considered in the text. And I think that's a cool
development. The big problem is that it's new development that's cropping up
when we've only got two more episodes to go. Too little, too late? 14 March
2024.
Domicile conjugal (1970)
Growing up is hard!
Seven stars. This is Truffaut
and Leaud's fourth Doinel film. I've seen the first two, but haven't come across the third (Stolen Kisses). The 400 Blows is one of the
essential films of cinema history. This is a pleasing follow-on. It's a
pretty astonishing feat to craft a series of stories about one character, using
one actor, as he grows from truant tweener to the edge of adulthood (yes, I
know there was eventually a fifth film). The deftness of the direction and
performance are impressive. And the density of both the humor and the drama
are as well. Neither Antoine nor Christine handle the events of the story in a
very mature way. But, of course, that's the point. And that they end up
coming to something of a mature resolution to the problem is the coda to the
story of all four films. I should stress that you can watch any of the three
Doinel films I've seen as a standalone. The references to the earlier films
are there, but it's not like dropping into a random episode of Game of Thrones.
Truffaut was one of the great film-makers of family stories. He didn't go much
for flash, but he was very honest, and had a great eye. That's why his films
are still very much worth watching. 6 July 2022.
American Gods: Fire and Ice (2021)
Ganesh? Where'd he come in?
Seven stars. Lots of moving bits here. Threads are being drawn together. It's as if the writers are finally finding a sense of urgency to get on with
things. We continue to hit the actual story-beats in Lakeside. Although Ganesh
showing up is pretty damn arbitrary. Danny Trejo continues to be awesome.
Cordelia (I keep wondering if that name-choice is foreshadowing) is a great
add-on character. Having more humans in the story grounds it for we, the
mortal audience. That's why Salim is such a good addition as well. He
continues to be the best part of the Salim/Laura story. His negociation scene
is just glorious. Sad to say, the Bilquis story is turning into progressive
agitprop. Politics always weakens a good story. That's just as true here as
it is in Clint Eastwood movies. And, we finally see, Tyr isn't an affable,
retired war god. And he isn't about to forgive Odin. 13 March 2024.
My Darling Clementine (1946)
Print the legend
Eight stars. John Ford reworks history into American mythology. And he does so
with such elegance! Ford really is the quintessential American director. No
one else comes close. And Henry Fonda has been a favorite of mine since
I was a kid. He could take those "aw, shucks, ma'am" characters, and not have
them seem like buffoons. He could also do "righteous" like nobody's business.
Here, his Wyatt Earp gets to do plenty of both. But he doesn't have to carry
the whole show. I'm not really familiar with Victor Mature, but this is one of
the best jobs I've ever seen from him. His Doc Holliday is easily the most
complex character we get here, Mature pulls it off with real nuance and
subtlety (the Hamlet bit!). In contrast, I've seen Walter Brennan in TONS of
films. But I've never seen him get to sink his teeth into a really great
villain role before. He was just splendid. Holt and Bond were dependable, but
didn't get to do much here. And the actresses were lousy. That's really the
two-star hit. Still, that's not a big complaint. The slow build to the final
confrontation is Ford at his best. He knew how awful real violence was by
1946. And he knew that cinematic violence has way more impact with a big
lead up. This is a stone classic. I'm happy I finally got around to it. 27
July 2022.
American Gods: Conscience of the King (2021)
Loss and regret
Eight stars. Creating the Odin-Demeter-Tyr love triangle is weird, from a
mythological standpoint. But what the h3ll, why not? The present-day
Wednesday/Demeter story absolutely sings, due to the splendid performances of
McShane and Danner. And McShane delivers in a way that gives us the idea that
Wednesday isn't just a con-man. His loss and regret are as real as his
manipulations. The end scene reaches real heartbreak. The Laura revenge angle
continues to be the worst thing going. I've read the book, so I get where this
is going, but revenge is a terrible waste of a resurrection. At least in any
Universe I'm part of. She is travelling with Salim, though. And that gives us
more of the one really great human character that the show amped up. Oooo! Danny Trejo! A Mr. World who's always bad news, and who always dies badly! What a great bit of casting. Sam's finally back. In the book, that was a
major plot-turn. But here it seems like throw-away sop, rather than a
meaningful development. 12 March 2024.
Thirteen Lives (2022)
Even if you know the outcome. . . .
Nine stars. Not ten because it isn't tight enough. Mortensen and Farrell
both knock it out of the park here. They have to balance a sense of physical
competence that borders on arrogance with an underlying dread of their
helplessness to prevent a tragedy. Farrell has to play it more heart on his
sleeve, but Mortensen's rare eruptions tell us what we need to know about
Rick's emotional state. The other brilliant performances are by Teeradon
Supapunpinyo, as Coach, and the woman who plays the mom who confronts the
Governor. Coach is another balancing act character who knows the lives of his
charges are dependent on him not failing them, but who also believes his
failure is what led to the crisis. Ron Howard knows how to stretch the
audience's emotions. He's been working on that for his whole career. The
shots of the cave diving are disturbingly claustrophobic. I was squirming for
a lot of the first hour, and really happy that we got montage after the first
long dive sequence. If Howard had forced himself to tighten things up just a
bit, the film could have really soared. Even so, it is a fine piece of work.
15 August 2022.
American Gods: Sister Rising (2021)
Artifact One
Eight stars. I liked the Technical Boy backstory. Gaiman doesn't explore the
concept, but technical innovation has been an essential part of humanity for as
long as we've existed. So this particular tangent makes perfect sense. And I
loved the Bilquis "rescue". Her line to Shadow is just priceless! The
Laura/Salim duet is okay. Laura needs a counterpoint. By herself, she's just
a mess. Salim isn't anywhere close to as glorious a counterpoint as Sweeney
was, but he's another character that needs someone else to be his mirror. The
pity of it is that Laura is scripted to still be hung up on vengence. I can't
think of a more depressing turn than her response to actual resurrection. The
con is a great bit of fun. I loved how it pays homage to classic caper-film
set ups. Because I LOVE me a good caper film. But the core of the episode is
Wednesday and Demeter. McShane and Danner are monumental here. The previous
interaction between them was just a set-up. Here is where we start to get the
pay-off. Things are moving. But SO slowly! 11 March 2024.
Sideways (2004)
Merlot and Cabernet Franc
Nine stars. I'm not really sure why it isn't ten. Maybe because Myles and
Jack really are such louses. Maybe because Maya is just a bit too angelic. Because I really do like it a lot! Giamatti and Haden Church are both just
brilliant, and Madsen and Oh both do fine work as well. The technical
structure of the film is top notch, and the understory of Myles's redemption
is executed gloriously. This is classified as a comedy, and there certainly
are a lot of funny moments (Hearing Jack, in the background, doing his
voice-over stuff as part of his seduction routine. The bit at the tasting bar
at Frasse Canyon. The whole notion of *naming* a winery Frasse! And so on). But the emotional drama cuts deep. Even Jack gets his moments of existential
despair. I'm a wine guy, and have loved good Pinot since I was in college in
the 1970s, so that helps too. This is the film that showed me what a
tremendous actor Paul Giamatti is. It's worth it just for his portrayal of the
desperate, flailing Myles. And all the rest just adds more bubbles to the
champagne (er, California methodee champagnoise). 29 August 2022.
American Gods: The Unseen (2021)
Crazy like a fox
Seven stars. Polemics are lousy story telling. So let's start with a long
one. Now let's try to get the story going again. That the writers managed to
recover from such a lousy intro is a pretty good feat. The Bilquis stuff is
the center of his one, and turns on the non-canonical team-up between Shadow
and Technical Boy. As a big fan of the novel, I'll say this is one change I
really like. Those Mutt-n-Jeff combos are a great source for both comedy and
high concept. As for Wednesday, having Marilyn Manson as an Odin worshipper is
hysterically on the nose. So is Wednesday's ruse to get back to Demeter. I
just loved it when he stumbled out of the burning wreakage, reciting "Pressed
Rat and Warthog". Had to explain that one to my son. And Laura, now back with us, has to decide why. I got the impression that the people in charge finally
realize that they have to get on with the story. Was it too little, too late?
7 March 2024.
Lookin' to Get Out (1982)
Burt Young steals the show.
Seven stars. A weak seven, but good enough to round up. Hal Ashby
had, possibly, the best six-consecutive film run in history from Harold and
Maude through Being There. This film clearly does not match that amazing run,
but it's still a lot of fun. Jon Voigt, an actor I've been a fan of for 50
years now, turns in an excellent performance as a more-wily-than-smart gambler
trying to square a big debt. Ann-Margret does fine as his ex, who figures out
he's running a con at the Vegas spot where she now works. But for my money,
the show is stolen by Burt Young. He did tons of movie and TV work, and was a
tremendous actor. But he was too dumpy looking to be a star. In a career of
character parts, this was one of his biggest shots, and he just nailed the loyal, not
as dumb as everyone thinks sidekick.
Ashby's career as a director was pretty
short, and he really faded from prominence in the last few years of his life. But he was still making quirky, intelligent, entertaining films. The film from
his big six that is closest to this is probably The Last Detail. If you liked
that one, take a look a this. 20 September 2022.
American Gods: Ashes and Demons (2021)
Some changes that actually work!
Eight stars. Because Demeter and Blythe Danner are such a GREAT addition. The
interaction between McShane and Danner is the key emotional nugget of the whole
season. And the acting of the two of them shows the sort of brilliance that
only a lifetime (okay, two lifetimes) of work can attain. The Lakeside stuff
is spot on, mainly because it follows the book. And the scene between
Ann-Marie and Chad at the search site is an absolute high point of the season
so far. It, and Shadows accidental research, are teasing us with the great
town secret. Very well played. Laura, of course, is still with us. And still
a condescending jerk. Her interaction with Mad Sweeney was the appeal of her
character. Without him, all we see is her anger, entitlement, and false
superiority. Until her last scene. Again, very well played. That it offers
no answers is fine. The cliff-hanger sets up one of the most peculiar
alliances of the show, and one of the few big departures from the book that
actually works well. 6 March 2024.
On the Waterfront (1954)
Definitely a contender
Nine stars. Every once in a while I still realize that there are some stone
classiques that I've never seen. Like this one. Yeah, I saw snippets in a
high school class about film and story-telling that I took in the 1970s. But
never end-to-end until this past friday. I knew about Brando going in, but
when I saw the credits, I just started laughing. Sure Brando. But Cobb,
Steiger, and Malden too? All in big parts. Wow! And, hey, isn't that Martin
Balsam? Yep. The only week note for me was Eva Marie Saint, who's just never
impressed me much. The film looks ugly. The location shots are all honestly
messy. Everyone looks seedy and cheap. In fact, I was struck by how much the
look of this film reminded me of Truffaut's work in the 1960s. I had never
pegged Kazan as a forerunner to the New Wave before. This is a tale of
corruption and the possibility of, if not redemption, then at least a sense of
honor in a corrupt world. Honor is such a strange thing. The dockworkers felt
a sense of honor not to use the courts to take on the people who were
terrorizing and abusing them. And Terry (Brando) had to deal with a culture
that reflexively considered him a villain for telling the truth. Brando's
scene with Steiger is the heart of the film. But my (13-year old) son thought
it wasn't earned. And I have to agree with him. The script really didn't
devote enough time to setting up the relationship between Terry and Charlie.
So I don't think it's perfect. But it is glorious. I'm glad I finally got
around to it. 10 October 2022.