Movie Confessions Blogathon

It's blogathon time and this one was suggested by my good fellow film blogger Nostra whose blog www.myfilmviews.com is one of the few blogs I read frequently. Thankfully Nostra didn't go too deep into the confessional part, maybe because he has some deep-dark secrets of his own, but reading my answers will likely raise a few eyebrows, especially the fact that I am yet to see the Godfather trilogy.

Which classic movie don't you like/can't enjoy and why?   

I honestly can't think of any film that I have seen and don't like from the classics. I usually like them for one reason for another. But for the movies I have not seen, Gone with the Wind for some reason has never intrigued me enough to want to watch it. In other words, frankly my dear I don't give a damn!

Which ten classic movies haven't you seen yet?  

8 1/2

Some Like it Hot

Roman Holiday

It's a Wonderful Life

Citizen Kane

On the waterfront

Mr. Smith Goes to Washington

The Good, The Bad, and The Ugly

The Godfather Trilogy

Raging Bull

Have you ever sneaked into another movie at the cinema?

Thought about it many times, but no I have been a chicken when it finally comes to that. Also in India the tickets are checked at the entrance of each screen. Although, once a friend knew some people at the theater and they let us in for free to watch a film.  

Which actor/actress do you think is overrated?

Oh! there are many and now that you have asked I can't seem to remember. Adam Sandler comes to mind. I also think some of the actors get typecast in a specific role (action, comedy) and spend most of their lives doing similar films and eventually it gets boring and that irritates me.

From which big director have you never seen any movie (and why)?  

Again I can't think of anyone off my mind, but on Twitter I come across people discussing movies and directors I have never heard of, so I know there are quite a few, especially ones who made film before the 70s. Also my world cinema viewing has been limited to newer releases and more pop-culture films.

Which movie do you love, but is generally hated?

That would be Transformers and all three of them. I grew up watching the cartoons and Transformers:The Movie (animation) has always been one of my favourite films, so I cannot help but love them. I did however initially not like Transformers 3, but then when I viewed it again at home, enjoyed it a lot more.Also, and I know this will get me in trouble, Michael Bay as a director doesn't bother me as much as he does a number of people. 

Have you ever been "one of those annoying people" at the cinema?

I want to say no, but i'm sure as a school kid when we would go for movies in large groups we were obnoxious. It's the typical group mentality, so i'm sure I was one of the annoying ones during those times. I did however once spoil The Usual Suspects for a couple of friends of mine, so I was definitely one of those annoying people "outside" the cinema.  

Did you ever watch a movie, which you knew in advance would be bad, just because of a specific actor/actress was in it? Which one and why?   

Most of Adam Sandler movies that have come out in the last 3-4 years. I've never seen them in the theater but sometimes when it will come on TV, even knowing it will be bad, i'll sit through it. Examples would be First 50 Dates, Click and other unmemorable films of his.

The other person would be Jim Carey who again have done a number of duds off late, but then again watching Mr. Popper's Penguins I quite enjoyed it, so in the back of my mind that is the reason I watch movies I think I will not like, because there is always a little hope that I might like it instead.

Did you ever not watch a specific movie because it had subtitles?

Yes and No. Yes in the sense that I am extremely moody when it comes to watching films (and other aspects of my life), and for a subtitled movie I just have to be in the right frame of mind. So I am sure I have skipped a film because of that reason at some point. Having said that I have never skipped a film just because it is subtitled.     

Are there any movies in your collection that you have had for more than five years and never watched?

Five years is too long a time so the answer to that would be no. But, I do have movies like 8 1/2, La Haine, The Outsiders, and No Direction Home which I have had for a considerable amount of time and I am yet to see them.

Which are the worst movies in your collection and why do you still own them?

That would be a number of films, especially Hindi films which I have bought at one time or another just to spend time or out of curiosity not knowing they would be this bad. I think Mission Istanbul (Hindi) would top that chart as being one of the most ridicules films ever in my collection. Why do I still have it you ask, well because no one is dumb enough to buy it off my eBay shop... honestly (and I hate to just throw films away).

Do you have any confessions about your movie watching setup at home?

I am lucky to have a nice little room dedicated to movie watching, a sort of a mini-home theater. The only confession worthy aspect of the room would be that when our house was being built it was one of the first few rooms that was completed, even before most of the bedrooms were ready. Other than that the fact that at my age I have to sneak in small film memorabilia to "decorate" the room from time to time as my family thinks that most of it is a waste of money.

Any other confessions you want to make?

Not really. I don't know if it's a confession, but I prefer to watch movies late at night and alone partly because I hate to be disturbed and at night everyone is asleep so no disturbances from phone calls either, and secondly it saves the embarrassment if an adult scene were to come up.   

Movie Thoughts - Is this the right time?

I've been struggling for the past year or so with trying to introduce some of the classic children films to my daughter (who is four and a half now). I tried A Christmas Story about six months back, but she lasted about half an hour before leaving. I am aware that her attention span is around the 30-45 minute mark in a theater (while watching any children's animation/film) and that is reduced even more at home because obviously there are a lot more distractions at home. In fact, a while back I tried to have a movie play date at home for some of her school friends, but they all lasted about 30 minutes into Toy Story before they were off playing with the kitchen set.

While my daughter is addicted to Peppa Pig, Dora and Chotta Bheem (Indian Cartoon), I have desperately been waiting her to watch movies like Chitty Chitty Bang Bang, or Goonies, or even Mary Poppins, but alas I have been unsuccessful. The only full length animated feature she has managed to sit through, and does so repeatedly, is Tangled. So there seems to be some hope after all.

The reason why I bring up this discussion now is because this morning my daughter woke up and told me about a dream she had. According to her, she dreamt about being in space going to different planets where aliens live. So, the little light bulb on top of my head suddenly lightened up. Could this be the right time to maybe show her E.T.? She is all into aliens right about now and fascinated by their existence (or lack of), so could this be the moment I have been waiting for? As it happens I have wanted to buy some DVDs of movies that I watched as a kid and this might just be the moment I take that step and try showing them to my daughter.   

The truth remains that I can't wait for her to someday be as crazy about films as I am, but what the future holds I do not know. What do you think is the best time to introduce classic films to kids? Should I go ahead and show her E.T. and see what she thinks, or maybe wait a while? I mean the other day during #MTOS (Movie Talk On Sunday on Twitter) someone mentioned watching Rocky Horror Picture Show at 4, so E.T. should be okay?

My Classic Cinematic Alphabet

I haven't seen any classic movies starting with Q or X, but here goes nothing.

A is for The Apartment (1960)

B is for Black Orpheus (1959)

C is for City Lights (1931)

D is for Double Indemnity (1944)

E is for 8 1/2 (1963)

F is for From Here to Eternity (1953)

G is for The Godfather (1972)

H is for His Girl Friday (1940)

I is for It's a Wonderful Life (1946)

J is for Jaws (1975)

K is for The Kid (1921)

L is for The Lady Vanishes (1938)

M is for Metropolis (1927)

N is for Notorious (1946)

O is for On the Waterfront (1954)

P is for The Philadelphia Story (1940)

Q - abstain

R is for Rear Window (1954)

S is for The Seventh Seal (1957)

T is for Through a Glass Darkly (1961)

U is for Under the Yum Yum Tree (1963)

V is for Vertigo (1958)

W is for Who's Afraid of Virginia Woolf? (1966)

X - abstain

Y is for You Can't Take It with You (1938)

Z is for Z (1969)

His Kind of Woman: A Priceless Affair

Is it too great a pun to call His Kind of Woman, Priceless? If so, slap the cuffs on me and take me away to jail because His Kind of Woman is a film which lives and dies by the vocal wonder that is Vincent Price. A constant reminder that the greatest flaw our society will always face is that he failed to live long enough to do a GPS voice over.

When dealing with a movie of the flair of His Kind of Woman, it's important to categorize just what kind of film it is. Setup and packed with all the markings of a fly by night, run of the mill noir tale, His Kind of Woman injects a lovely dose of self-awareness, and light hearted adventure along the way. The interplay and romantic tinglings between our picture of masculinity (Mitchum) and the epitome of sex appeal (Russell), reaches a chemical overload, exploding off the screen. And it's a good thing to, because the story just isn't that great.

But His Kind of Woman has a good enough story to do what it wants to do: spin noir on its head. Vincent Price's overblown tour de force finale, matched with Mitchum's tough guy looking for answers setup, all at the background of a beautiful costal resort in South America, it's just too much to handle. In most other hands, this film would be inept, generic, or so cheesy even milk would pass. Yet, it never falters.

True to the course, and willing to take a chance, His Kind of Woman shines in the most nuanced, twilight lit light. Of course, it doesn't hurt that the film features Jim "the Thurston Howell III Mr. Magoo" Backus as a bumbling background loafer - obviously present to supply this film with the necessary street cred. Oh, this is just a joy to be had.

Every character just works. Not only on their own right, but with respect to the personas of those around them. Their conversations bounce off one other flawlessly. It's almost as if the cast was born to work together. From bit players to big stars, everyone pulls their own weight. And the film is all the better for it!

Overall Rating: 8.00/10

Mini-Review: The 36th Chamber of Shaolin (1978)

I've often said the difficulty in going back in cinema viewing is that you are conditioned through years of experience in the present. All our time watching countless movies built upon the shoulders of giants. Those who saw potential in what we see as generic. Those who created grandeur through what we would now call old. And so when going back to see a movie whose influence can neither be denied or quantified, I try my best to keep that in mind.

Luckily enough, The 36th Chamber of Shaolin needed no help from my calculating mind at all. Over the top in cheese, awesomeness, and obsessive self-idealism, The 36th Chamber of Shaolin is entertainment in its purest form. A mild moral tale mixed in with a fantastical styling, wrapped in the comfort of action, under the dark tent of vengeance. It's the kind of movie you kind of wish was dubbed just to increase its magnificence ten-fold. And yet even that wouldn't begin to compliment it.

Now, I'm not saying it's one of those movies that every human being should watch before they die. I'm just saying it's one of those movies every human being should enjoy when they do; watch it, that is. The movie brings to light some of the most mentally staggering questions in history. Questions like "just how many wise old Chinese kung fu monks does it take to train a hothead?" Answer: In and around a baker's dozen. And I take no shame in saying each one is as equally awesome as the last.

That's really the kind of movie this is. Sure, there's the generic young idealist becomes kung fu master arc that has been featured so dominantly throughout the years. But that's just a component. It's the base element, from which the movie derives such an intense sense of awareness. Not afraid to be comical, self-mocking, and confident all at the same time, it imposes an enchanting charm onto the viewer. Glazing over their worries of cliches by standing steadfast alongside them. And in doing so it creates a tale worthy of those who seek out the opportunity to view it.

OVERALL RATING: 8.50/10

Recommended By: Silver Emulsion

What Do We Know About 'Mendacity?'

Cat on a Hot Tin Roof

What do we know about 'mendacity?' More than we're ever likely to let on. And that's a truth you can bet the farm on.

Such is the case of Tennessee Williams' classic play, Cat on a Hot Tin Roof, adapted for screen by Richard Brooks and . Fresh off the news that he is not dying of cancer, Big Daddy (Burl Irves) returns home to his multi-thousand acre farm, worth millions of dollars, and two children sitting on entirely opposite end of the spectrum. On the one hand you have Gooper, the loyal son who seeks for nothing but to appease his father... and if he's lucky get a large piece of the inheritance pie. Gooper is the archetypal child. Well mannered, well wed, and full family, with the business sense to see the farm into prosperity. Then, there's Brick (Paul Newman), the wild child, the star... the alcoholic. With his glory days behind him, Brick finds himself in a marriage he doesn't want, a life he can't stand, and remorse piled on so high he couldn't see daylight for miles. There's no denying something is eating away at Brick, but damned if he's going to let anyone in on it. That includes Maggie (Elizabeth Taylor), his wife.

Now, Maggie is by no means a saint. She knows time for inheritance talks are on the horizon and she'll be damned if she's going to let Brick lose out because of Gooper's trying ways. Only one problem: Brick doesn't want it. So caught up in trying to escape, Brick wouldn't care about the inheritance unless it was a ten feet tall bottle of Bourbon. Everyone can tell he's hurting, and the only one who cares enough to try and get in is the last person he's going to let anywhere near, Maggie.

Such is the world Big Daddy finds himself returning to. But even Big Daddy isn't the same. A brush with death has inspired a burning desire for life inside of him. He wants to do all the things he never did. Be the person everybody tries to tell him he isn't. Like Brick, he also wants to escape. He wants to escape his family, the pressures of death, the tales of inheritance, the conniving, the planning, the cunning and cheating. He wants peace, tranquility... and a beautiful girl with inviting arms for him to collapse into.

Yet as Tennessee Williams so masterly proves, for all their tales, complaining, and selfish ways, the one person each of them lies to most is thyself. It is in that spirit that throughout the next two hours, our characters do everything under the sun to convince those whom live in their tiny world that fault lay at the feet of everyone else.

However, there was one aspect of the film that struck me in a most unusual way: the submissive attitude of women. Perhaps it was the time it was written, or set, but despite some strong and commanding female presences, each woman feels beholden without question to the man. The man is the stronghold, the maker and breaker, and through his actions they define themselves more than anyone probably should. I do get that they are often the voice of reason in their respective relationships, but even still they seem to be voices of reason without conscience. What few actions they take on in absence of their other half, are often conniving, conceited, or just downright cruel. And while I won't argue that their male counterparts are any better, they at least show some sentiment of self-dependability. Something decisively lacking in the women.

Alas, that characterization seems limit minded and unfulfilled giving the overall greatness on display. From the lyrical styling to the volatile confrontations, Cat on a Hot Tin Roof is a classic to behold

You Can't Take It With You (1938)

"What makes you think you're such a superior human being? Your money? If you do, you're a dull-witted fool, Mr. Kirby. And a poor one at that. You're poorer than any of these people you call scum, because I'll guarantee at least they've got some friends. While you with your jungle and your long claws, as you call 'em, you'll wind up your miserable existence without anything you can call friend. You may be a high mogul to yourself, Mr. Kirby, but to me you're a failure - failure as a man, failure as a human being, even a failure as a father. When your time comes, I doubt if a single tear will be shed over you. The world will probably cry, "Good riddance." That's a nice prospect, Mr. Kirby. I hope you'll enjoy it. I hope you'll get some comfort out of all this coin you've been sweating over then!" - Lionel Barrymore as Grandpa Martin Vanderhoff in You Can't Take It with You. Also starring: Jimmy Stewart and Jean Arthur

It's always a solemn inducing experience when you go back and watch a classic and realize that the issues it approaches then are just as prevalent, and in turn frustrating as they are now. A reminder that the one thing we learn from all our years of studying history is that we never bother to learn the lessons of them.

The Anti Boxing Champion of the World

Who knew Kirk Douglas was Harvey Dent's grandfather?

These days we're well programmed to visual two extremes of boxing. In real life we see egoistical, self-obsessed prize fighters making it 'rain' money at random events. On the big screen, many of the tales which become lauded with adoration are those of the impoverished underdog fighting to overcome societal inflicted limitations and gain fame and fortune. You don't even have to go back to Cinderella Man for such a story. 2010's The Fighter more than covers the cinematically hallowed ground. We're conditioned for them. We anticipate them. Which is why it's such a unique experience when you go back before them and find a film that is, in many respects, the antithesis towards them. For that, I give you Mark Robson's 1949 film, Champion.

Best described as some half-mangled combination of Ray, Citizen Kane, and Rocky, Champion plays on the genre norms to create a beast of grim cinema. From the opening shot we see the all American tough guy, Midge Kelly (Kirk Douglas), dressed in fine robes standing proud in the ring. He's the story we've all heard. The boy who fought his way up from the slums to make it big. The crowd itself dotes on his every move. He's their hero. Hercules, Beowulf, and Odysseus, all rolled up into one crowning champion of boxing. Roll back time a little and he's just another bum sneaking a ride on a train.

Hitchhiking across the country to LA with his 'lame' brother, Connie (an amazing and easy to overlook performances from Arthur Kennedy), Midge is riding high of LA dreams. Unfortunately what he finds there is nothing even vaguely resembling the big time. Taking up mundane jobs as a busboy and dishwasher, Midge and Connie ride the fast train to nowhere. Midge passes his time with the young waitress, but when her father finds out the wedding ring is quickly thrust at him and Midge bolts. As a career in boxing begins to unfold for him, Midge becomes king of the world. Soon he has beautiful blonds aching for him. Money to do what he wants, when he wants.

"For the first time in my life, people cheering for me. Were you deaf? Didn't you hear 'em? We're not hitchhiking any more. We're riding" - Midge

From that moment onwards, he's lost. Midge is a shining example of an anti-hero. Yet, to call him a hero would be a bit of a stretch. Early moments would lead one to believe he's the kind of man you could look up to. Taking nothing from nobody, earning his way in life, and defending his crippled brother from all who would offend him. Over the next hour that image is slowly, meticulously deconstructed. The very first thing Midge loses in his battle to the top - loyalty. To get the women he wants, he's willing to sellout anyone. To get the money he craves, he's willing to let go of any women. A viscous wheel begins to turn and Midge shows no care for stopping it.

Champion works so well these days because it plays against all those predefined expectations of boxing films. We expect Midge to discover the error in his ways. To fall back onto those who truly love him, and Champion is more than willing to give it... but you have to play by its rules. Slight of hand, and quick of rashness, Midge falls into a sea of cheers, light, and money. A sea from which he is never to emerge again.

Champion has more than its fair share of faults. At times it fails to take itself seriously enough, and at other times feels unsure of what is to come. Yet, few can deny the power of that final Kirk Douglas scene. Damn near worthy of Oscar gold for that one moment alone. If only they had the good sense then to roll credits right away, you'd likely see more articles on the greatness of Champion now.

"You know what a "Golem" is? I think I knew all the time I was building one." - Tommy Hailey, Midge's Manager/Trainer (Paul Stewart)

A Trip to the Moon (1902)

A TRIP TO THE MOON

WRITTEN AND DIRECTED BY: GEORGES MELIES

BASED ON NOVELS BY: JULES VERNE & H.G. WELLS

REVIEWED FOR: 1001 Movie Club

 OVERALL SCORE: 10/10

How does someone truly review one of the first narrative films of all time? How does someone judge the accuracy of a science fiction film that predates modern knowledge in ways we can only hope to experience one day? That's the difficulty with watching this 1902 classic eight minute piece of cinema.

There's very little opportunity with this film to evaluate the film in terms of narrative flow, acting ability, character development, and cinematic style. When it was created almost none of those things existed in the world of cinema. Which in many respects makes A Trip to the Moon simply unrivaled in stature or importance. 

Georges Melies shaped the future of cinema in ways you and I will never fully understand. Where many saw trains and walking people, he saw the ability to create magic. To transport a viewer to a world beyond sight and sound. The ability to blend animation and science fiction, with stage originated storytelling, Melies was able to create a whole new world of entertainment right before everyone's eyes.

The career magician made a number of films after having first experienced moving pictures in 1895. These films, numbering in the 500's, detailed techniques, such as the blending of animation/artistry to create a seamless story without resorting to off screen narrators, or cue cards to describe events that could not be illustrated otherwise. 

There is no denying that A Trip to the Moon is painfully outdated. However, we'd all love to still look as grand and awe inspiring at 108 as Melies classic does. A Trip to the Moon is equal parts entertaining, fun, silly, outlandish, and just downright absurd. Making it a perfect mantle piece for things I love about cinema. Melies put time, heart, and genius into this film, and that's something to which I hold nothing but eternal respect.

*You can see the film in its entirety, here.

Classic Soup #3: Wild Strawberries, Defiant Ones, & Battleground

WILD STRAWBERRIES

WRITTEN & DIRECTED BY: INGMAR BERGMAN

Bergman's dissection of old age and the trials of life serves as a wonderful companion piece to his analysis on life and death in The Seventh Seal. Aging professor, Isak Borg's cold and fruitless life gives great context to the many conflicts a man can run into throughout a life without real passion. 

In many ways Wild Strawberries is reminiscent of Kurosawa's Ikiru. Both deal with men who must face death, each in their own way. Ikiru tries to find out what one can do with what's left of life, Wild Strawberries seeks out the things that never did. Love, passion, intelligence, all fading aspects of human life. Things that must be constantly rekindled, maintained, or shall be forever lost.

Bergman's Strawberries is a lovely take on human life, filled with increments of great happiness and sorrow. Never offering full answers, but never depriving the viewer of a chance to decide for themselves. The forefront Victor Sjostrom and Ingrid Thulin (as Borg's daughter-in-law) light up the screen. Each giving tour de force performances worthy of membrance.

Overall Score: 9.00/10

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  BATTLEGROUND

DIRECTED BY: WILLIAM A. WELLMAN

WRITTEN BY: ROBERT PIROSH

Battleground serves as the rare 1940's world war 2 epic more concerned with the mentality of its characters than the vibrance of its  battles. 

Covering the "Bastards of Bastogne," Van Johnson, Ricardo Montalban, and James Whitmore headline a star studded cast during one of the deadliest battles of the war. Yet Battleground does not maintain the myth of the American soldier, as classic films of its ilk tend to do. Instead Battleground treats the soldier as a far more human entity.

The soldiers in Battleground laugh, fear, hate, fight, and die (not all in that order and not all the same). These fighting men aspire to flee, seek to save, and try to find some way of surviving their numbing battles and short supplies. Wellman does a fantastic job of creating a timeless film by not relying on any fancy techniques of the time. The enemy is seldom seen but constantly there and always a threat. The tension is ever building and perfect in climax.

Despite being a rather realistic portrayal of the Bastogne battle, there are moments of unnecessary liberty taking (most notably the English speaking Germans subplot). 

Overall Score: 8.75/10

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THE DEFIANT ONES

DIRECTED BY: STANLEY KRAMER

WRITTEN BY: HAROLD JACOB SMITH & NEDRICK YOUNG

Escaped convicts Joker (Tony Curtis) and Cullen (Sidney Portier) must find a way to work together, despite their racial issues, if they want to find freedom from their life as part of a chain gang.

Most notable for its use of race as a platform for building character Kramer's 1958 film, The Defiant Ones, is a thrilling adventure tale with two of Hollywood's very best leading men at the helm. Curtis and Portier are simply a delight with every turn. Joker's 'that's just the way it is' mentality clashes beautifully with Cullen's need for a better life. 

Kramer, Smith, and Young (unfortunately not the name of a 60's music band) do a great job of balancing views on race. The characters go back and forth, each making mistakes, and each atoning for them. The line between convict and human has never been more transparent. A tale of two people trying to survive in the lives they were given, wanting to get what they'll never have. 

The only real problem with The Defiant Ones lay in the ending. The duo's rather anti-climatic finale leaves a bit to be desired from the directors and writing team. Still, The Defiant Ones survives because of its great adventure and message. That when push comes to shove, no matter who you are, humanity always supercedes race.

Overall Score: 8.00/10

Horror Classic Soup: Nosferatu & Phantom of the Opera

THE PHANTOM OF THE OPERA

DIRECTED BY: RUPERT JULIAN

NOVEL BY: GASTON LEROUX

Rupert Julian's 1925 silent classic retelling of the infamous Leroux novel delves wondrously into the world of everyone's favorite Phantom painting a more dark and violent portrait of the man.

In Julian's tale the Phantom, played by shape-shifting mastermind Lon Chaney, is not the sympathetic antihero, so much as a dark, disturbed, and vile thing whose life has become a thing of shadows and hate.

Erik, the phantom, is driven by two things in life - his distaste for other men and his love for opera singer Christine (Mary Philbin). Christine finds Erik alluring, in his secrecy, but is disgusted once his true figure is revealed. Erik's plea that he is what the world made him are rejected by Christine, and the tale becomes more about Christine's desire to return to her love, and flee this despicable monster, than a tale of torn romance.

Julian's tale sacrifices some of the more romantic undertones of the novel (albeit due to screening results) in preference of more action and adventure. This creates a more thrilling and compelling film, but I fear it loses some of the romantic beauty of the tale.

I can say as silent films age Phantom of the Opera has aged modestly. Some of its more silent-era dynamics, in terms of acting, may come off more cheesy than intended for those less familiar with silent films. All in all though, nothing that will lead its viewer anywhere near the off button.

Overall Score: 8.00/10

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 NOSFERATU

DIRECTED BY: F.W. MURNAU

WRITTEN BY: HENRIK GALEEN

Loosely based on the novel 'Dracula' by Bram Stoker, F.W. Murnau's tale of real estate agent Hutter's (Gustav von Wagenheim) encounter with the mysterious Count Orlak, Nosferatu (Max Schreck), is an engrossing adventure/horror tale.

Separated by Acts, Nosferatu relies equally on adventure and chase sequences as it does on eerie circumstances, and groundbreaking (for their day) effects, to gain the thrills necessary. The use of shadows, lighting, and a stare from Schreck that could launch a thousand fears, strikes an unsettling feeling into the viewer. A feeling that darkness and death are immeninent.

This feeling is supported by a wonderfully well laid out lore to Nosferatu. Nosferatu carries with him the Black Death destroying any town he visits. He can only be destroyed by the sacrifice of a young maid. The way his shadow always looms ahead of his movements, assuming he moves at all.

Murnau and Galeen give great weight to the original Stoker narrative, while still supplying their own spin on the tale. Nosferatu is as much about the destination as it is the journey. The mystery in the world, which has been liberally taken from since its creation, still carries the same wonder today as it did then. Schrek's Nosferatu is still as creepy and unnerving as ever, always supplying the viewer with more to fear.

Overall Score: 8.50/10

Classic Soup #2: Brazil, Rebecca, & Clemetine

REBECCA

Directed By: Alfred Hitchcock

Written by: Robert E. Sherwood & Joan Harrison

Novel By: Daphne Du Maurier

What I find most memorable about Rebecca is not the direction, or the writing, or even the mood. It is the characters which Hitchcock and company so wonderfully bring to life. Each maintaining an air of mystery, deceit, and love, with pasts left open to the viewers imaginations.

Olivier and Fontaine create such a unique countering couple, equally romantic and unromantic at all times. With Judith Anderson there flawlessly to supply the deep emotional strain. The constant worry and angst that goes with unrequited love, even in a relationship, amplified onto the big screen, I have to say I was hooked. Especially towards the latter half, as the film really began to suck me in.


That does mean the opening left me a bit wanting. Too much talk + cut + talk + cut again for my liking, but as the film progresses, and smooths out, it becomes the classic everyone has told me it is. Equally thrilling, dark, and realistic, with varying degrees of cinema exaggeration, Rebecca is a great cinematic experience. One that has taught me one thing: I need more Joan Fontaine in my cinematic diet.

Overall Score: 8.75/10

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BRAZIL

Directed By: Terry Gilliam

Written By: Terry Gilliam, Tom Stoppard, & Charles McKeown

Brazil is one of those movies that when it connects, I am laughing, loving, and enjoying it to the greatest of degree. Unfortunately that does imply that when it doesn't connect, I sit there solemnly starring at the screen begging for it to get on already. Don't get me wrong, the cast is great, and the direction is quite captivating, especially in terms of cinematic vision. I just found its plot, if I dare even call it that, to be jaded, and boring. 

The characters are way over the top, and I never really cared about them. The central Lowry -> Layton romance feels incredibly rushed. Though I feel this is more of a sentiment of Gilliam himself, rather than the film. Gilliam creates these wondrous worlds, but always seems more captivated by his side, fantasy within a fantasy, world. It makes for great visuals, just not a great story. Which is generally what I look for.

Of course, Robert De Niro being around to ham it up a bit is always appreciable (except for Rocky and Bullwinkle), and Jonathan Pryce is always a delight. The supporting cast handles the material well, even though Kim Greist does come off flat. I enjoyed seeing all the wonderful cast of actors, many of whom are currently highly praised, goofing off. I just didn't care enough to want to venture into the world anymore than I already have. Though it should be noted I saw the Director's Cut, not the original one.

Overall Score: 6.00/10

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MY DARLING CLEMENTINE

Directed By: John Ford

Written By: Samuel G. Engel & Winston Miller

Book By: Stuart N. Lake

What I found my pleasing about Ford's My Darling Clementine is that, while it does highly romanticize the events, it takes the time to build the character dynamics. We deal with the Earp and Doc Holliday character clashes. The varying stories that build their history. The town of Tombstone, its many dreamers, and aspiring moneymakers. Ford handles them all with great precision... then again, would you expect anything different?

Fonda is always great as the leading man. He has a natural atmosphere that makes all his characters seem as if there is something hurting behind their eyes. Victor Mature adds a wonderfully, more intellectual, look at the dynamic Doc Holliday. Of course, when your main villain is played by Walter Brennan, there's no real need to even mention greatness, it's just a given. Linda Darnell and Cathy Downs as local bar girl Chihuahua and Clementine, respectively, even make great showings with their limited screen time.

One thing I will say, is I feel that, at times, Ford loses sight of the main plot, due to the many distractions of the surrounding town life. It's understandable, and hardly frustrating, but I feel as if it would have added more backstory, and depth to the finale. Which comes rather abruptly I must say. Though as westerns go, this one is a real gem of a time.

Overall Score: 9.00/10

Classic Soup is a sporadic series on LiE as I continue my never ending journey through the old school films as I experience, some, for the first time.

Classic Soup #1

Classic Soup is a new, sporadic, series from LiE covering varying older films seen for the first time with short reviews and commentary.

 RIFIFI

Directed By: Jules Dassin

Written By: Jules Dassin & Auguste Le Breton

Novel By: Auguste Le Breton

Quiet, calculating, and captivating, Rififi is an exercise is visual narrative where dialogue and sound are deemed lesser by comparison to tension and shot composition.

This is most likely for the best considering that the dialogue is rather weak (minus a few moments int he finale), and the acting of some of the characters a bit comical. Luckily, the strength of the writing lay in the story and characters. Their flaws, weaknesses, and strengths all present themselves over the 2+ hour runtime, leaving its impression right at the heart of the viewer.

At times I felt as if the story dragged, and certain items, such as backstory for our characters, weren't nearly as well formed as I would like. Yet if you're looking for a film that combines beautiful camera use for pure tension, Rififi is one of the masterworks of that art.

Overall Score: 8.50/10

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MURDER BY DEATH

Directed By: Robert Moore

Written By: Neil Simon

Maggie Smith, David Niven, Alec Guinness, Peter Sellers, Peter Falk, Eileen Brennan, Elsa Lanchester, James Cromwell, and even Truman Capote. What more could you possibly expect than absolute zaniness?

And luckily enough it's the zaniness that works best for the film. Not the kind of movie that builds up to a punch line, so much as build up to memorable characters. Each of whom undergo a series of goofy situations which may or may not work for you.

By today's standards it's a very lighthearted affair. In many respects it builds a formula which has been emulated time and time again (to varying degrees of success). For me, I found Falk to be a real stand out here. In the respect that it desperately makes me want to seek out more of his performances. He channels a side of Bogart that's just over the top goofy in every way.

Unfortunately I can't say I was overly amused by all the characters (especially Sellers as Sidney Wang... going borderline racist I'd say). Not to mention, it's a rather slow paced film for its story. Perhaps, I would have been better served to see it under different circumstances.

Overall Score: 7.00/10

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M

Directed By: Fritz Lang

Written By: Fritz Lang & Thea von Harbou

Gripping, intense, and socially applicable, M is in many respects a crime epic. As this child murderer roams the streets we see the struggles of the police, the frustration of the criminal element, and the fear of society. Wrapped up into a beautifully shot film, Lang truly outdid himself with this one.

The dialogue is superb, to the point in which it blends message and opinion wonderfully. It has a goal, and finds the appropriate medium to present it. 

Supporting the writing, Lang creates a sense of tension, fear, and anxiety through countering moments of silence and noise. Our main villain is given a sense of understanding, but equal contempt, with a brilliant performance from Peter Lorre. All of which culminates in a final speech that is simply breathtaking to the nth degree of powerful. 

Always reaching for that little bit more, the only thud for me lied in the final shot. I understand why it ends that way, the final message on crime and punishment. Yet, I can't help but feel as if, given much of the story lay in the chase, and not the court, a more suitable final shot could be found. Still, the one brief moment, against the backdrop of near 2 hours of perfection, seems incredibly mundane.

Overall Score: 9.50/10

That about does it for this installment - if you have any recommendations/comments let me know as always!