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Alfred Hitchcock: "Cary Grant is the only actor I ever loved in my whole life."
Billy Wilder: "Happiness is working with Jack Lemmon."
Stanley Kubrick: "There are very few directors, about whom you'd say you automatically have to see everything they do. I'd put Fellini, Bergman and David Lean at the head of my first list, and Truffaut at the head of the next level."
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Penn & Teller Get Killed (1989)
Teller Talks!
This film is an oddity. It is well-directed by Arthur Penn (no relative) and cleverly written by Penn and Teller, but it is too clever for its own good. The story asks the viewer to buy into its premise, then it jettisons that premise in the last act. Call it absurdist or call it an absurd waste of a good script.
Penn and Teller play themselves---well, versions of themselves---and pepper the story with comedic magic bits that are their hallmark. The two characters play practical jokes on each other, always upping the stakes. This allows them to display their talents to good effect. A better ending might have resulted in a great farce.
I did enjoy Caitlin Clarke's performance as their girl Friday. And the musical references are enjoyable.
Elsbeth (2024)
A Fun Crime-Solver
If you can get past the first episode, which feels like a direct ripoff of "Columbo", this can be an enjoyable series. Perhaps it is meant to be an homage to the Peter Falk character. By the fourth episode, I was actually looking forward to watching Carrie Preston in her portrayal of Elsbeth Tascioni.
This humorous crime solver is not too insightful so that the stories feel unbelievable. Elsbeth is not a superhero. She is a kind-hearted person who is smart enough to disguise her powers of deduction with a veneer of absent-minded lack of focus. She notices the small details that matter (and some that don't) while working well with others.
By the fourth episode, she has established a strong working relationship with officer Kaya Blanke (Carra Patterson), who comes to recognize the value of Elsbeth's talents. Their partnership promises to elevate the remainder of the series.
I hope Wendell Pierce (who plays Captain Wagner) becomes a larger part of the stories. As on "Suits", he is always fun to watch.
Like "Columbo", the series needs good "villains", and so far they have delivered. Deliciously arch antagonists really make a difference. The castings of Jane Krakowski and Jesse Tyler Ferguson were strong steps in the right direction.
Shôgun (2024)
The Heretic
The year is 1600. Having discovered a better sea route to the Orient, the Portuguese have established relationships with the Japanese, leading to advances in their two main objectives: profitable trade and the incursion of Catholicism into the region.
A Dutch vessel, the Erasmus, beset by scurvy, drifts aimlessly through dense fog until it grounds near Osaka, where the crew is captured. They are treated badly. One sailor---an Englishman named John Blackthorne (Cosmo Jarvis)---is sent to the castle as a prisoner, to be looked over. Fortunately for him, a young woman (Mariko, played by Anna Sawai) there speaks English, having been instructed by a Portuguese priest. Through her, he communicates with those in power, though they have little regard for this outsider.
This is a time of political intrigue. A board of five regents is in charge, but some have designs on more power. And long histories of conflict color every decision, every posture. Blackthorne struggles to understand what is happening and how he might regain possession of his ship.
Based on the James Clavell novel of the same title, this is an excellent mini-series. I admit I took to it slowly, as the narrative established the context for the entire series, but there was a moment near the end of the second episode when I was hooked by the story and I knew I would enjoy its entirety.
Besides some strong acting, there is a strong element of design (costuming, sets, atmosphere) that infuses the production. But all is not beautiful, as there is death and brutality all around. Nevertheless, immersion into the culture of feudal Japan transports the viewer. We can identify with Blackthorne's struggle to understand his surroundings. At the same time, Western understanding of feudal Europe, with its warring factions and systems of fealty gives us an analogous example that allows basic comprehension from the beginning.
This is an excellent story and a convincing glimpse into the history and culture of Japan in 1600.
The Reluctant Debutante (1958)
Dee Before Donahue
Directed by Minelli, "The Reluctant Debutante" is about a young American girl named Jane (Sandra Dee) who visits her father, who is a banker in London. There, she meets his second wife, who decides Jane should debut (or "come out") during the season, which is a succession of debutante balls. It is 1958, and this will be the last season, as decreed by Queen Elizabeth.
This film represents a series of firsts and lasts.
The father, Jimmy, is played by Rex Harrison. His wife, Sheila, is played by Harrison's actual wife, Kay Kendall. This will be Kendall's last film.
This is actually Sandra Dee's second appearance in a film. Her fresh-faced persona is understandable, as she is only about 15 in this appearance, due to lying about her age.
Jane is disappointed with the romantic prospects of the season when she realizes the young man who seems most available is David Fenner (Peter Myers), a guardsman who is a dull "drip"; his main interest seems to be the best way to negotiate the London roadways.
But then David Parkson (John Saxon) enters the picture. Jane has chemistry with this American drummer almost immediately. There are a few clever moments due to the confusion of the two Davids.
In the era when the squeaky-clean image of Doris Day is of greatest appeal, Sandra Dee fits in well, like a Disney princess come alive. She is the image of the perfect debutante, on the cusp of womanhood, discovering love.
Shifting Gears (2024)
The Restoration Of Love
As the title suggests, this Hallmark romance has an automotive theme. Luke (Tyler Hynes) and Jess (Katherine Barrell) work on cars for competing garages. The two of them have a romantic history, but Jess now prefers cars over men, because they never disappoint. Emotions between them are further complicated by the fact that the two garages, owned by their fathers, also have a deep history.
The chemistry between the two leads is not off the charts, but the story really leans into the auto restoration contest that Luke and Jess enter. And Jess's father really needs the prize money to bail their garage out of existential financial problems. Still, as the contest goes on, old feelings are reignited, and Jess begins to allow Luke into her heart.
As always in a Hallmark film, a conflict arises in the eleventh hour, throwing a wrench into their love affair. But the viewer knows that love will overcome in the world where romance wears the crown.
In the final minutes, there is a resolution that promises not just a reconciliation, but also a brighter future. Even grease monkeys deserve love in Hallmark land.
Split Second (2023)
Enjoyable Game Show
I like trivia games. And game shows like "Jeopardy!" are my faves. "Split Second" doesn't come close to the quality of "Jeopardy!", but it is fast-paced. The keys to its likability are the level of trivia, which is not too challenging, and the affability of the host, John Michael Higgins.
Three contestants answer the same questions. If they answer first, they have a greater chance to win more points, so speed is a factor. Also, there is some strategy; if you answer the easier questions, it makes your opponent's task more difficult.
These Game Show Network offerings do not offer huge payoffs, but apparently they do not need to.
Ad Astra (2019)
Planetary Pinball Goes Tilt
Said to be loosely based on Conrad's "Heart of Darkness", this is a psychological drama that proves to be tedious. Roy McBride (Brad Pitt) is a man who mostly lives in his own head, focused on duty and the pragmatic pursuit of perfection.
At every turn, Roy finds himself in an emergency situation, as he leaves Earth for a lunar station where he will be rerouted to Mars and beyond. Since most of the action takes place in low gravity, you get the antithesis of high-speed chases: slo-mo slogs, over barren landscapes or in vacuums.
As for the story, it also leaves a lot to be desired. Roy makes few emotional connections with people, and the motivation for most of his actions is uninspiring. Over the course of the film, there is almost no character development. What is the viewer supposed to invest his emotions in?
About one hour in, I thought the first half was merely prologue to an exciting conclusion, because he is derailed from his mission and must find a way to overcome. But no, nothing changes that makes the story more interesting or the action more compelling.
There are some impressive sets and some believable effects, but this is one film that could have been so much more.
How the West Was Won (1962)
A Story As Broad As The American West
Director John Ford assembled more than twenty name actors for this intergenerational saga that provides an overview of the westward expansion of the United States.
The use of Cinerama means that the camera is usually stationary, but Ford makes the most of the panoramic product, making the expanse of the frontier feel as vast as it was. And its grandeur adds gravitas to the undertaking.
There will always be those who question the accuracy or the focus of a film about history, but "How the West Was Won" feels fairly objective, laying blame and giving credit where due. And the story does a good job of condensing so much history into so little screen time. This is great storytelling. You might say it provides a personal view of manifest destiny. In the end, American history is the collection of so many personal histories, not just the actions of governments or armies.
One of my favorite chapters is about how Linus Rawlings (James Stewart), a mountain man who values his independence above all else, meets his future wife.
This film was nominated for eight Oscars, winning three, including Best Writing, Story, and Screenplay. It's an impressive film with ambitious intentions.
We're Not Married! (1952)
Five Couples Seek Justice And Peace
Large cast of recognizable stars is involved in this interesting comedy. It all begins when a new justice of the peace marries a couple (Ginger Rogers and Fred Allen) on Christmas Eve who has no romantic feelings for each other. They wed merely because they play a married couple on radio.
Two and a half years later, they receive a letter telling them they are not legally married, because the justice of the peace did not have the power to marry at that time. The rest of the story deals with the consequences of that notification, for them and for four other couples:
Marilyn Monroe, a pageant winner, is married to David Wayne.
Paul Douglas, who dreams of being single again, is married to Eve Arden.
Louis Calhern, a wealthy businessman, is married to Zsa Zsa Gabor. This story is the most satisfying.
GI Eddie Bracken, who is married to Mitzi Gaynor, is worried about what the marriage revocation might mean for their new child.
Each of the couples has a different take on what the notification means to them. Each complete story has its own appeal.
Watch for character actors James Gleason and Victor Moore; and Lee Marvin, who is uncredited.
Pushover (1954)
High Stakes Stakeout
A 1954 film about a sexy, surreptitious surveillance could be Alfred Hitchcock's "Rear Window", or it could be this noir thriller from director Richard Quine, featuring Fred MacMurray and newcomer Kim Novak.
The film begins with a heist, then quickly turns to seduction. It's a common theme in films for a private dick or a cop to fall for the dame he is tailing or watching. In this one, MacMurray is more than intrigued by gangster's moll Kim Novak, who is a temptation from a distance or up close and personal. Though this film might remind one of MacMurray's turn in "Double Indemnity", here his character is less cynical and the viewer wonders how strictly he will adhere to the constraints of duty.
Like "Double Indemnity", a plan is made and much of the suspense revolves around the small cracks that eventually develop in every plan.
Fine performances are delivered by Dorothy Malone, as another siren who lives in the surveilled building, E. G. Marshall, who plays the gruff police lieutenant who runs the operation, and Philip Carey, who is MacMurray's friend and coworker.
For a more modern take on the surveillance thriller, check out "Sharkey's Machine" from 1981.
Her (2013)
A Bold Look At An Impending Future
Spike Jonze wrote and directed this film that examines some possible outcomes resulting from the incursion of the digital world into the "real" world. Specifically, it involves AI in ways that are not fantastical; it is only a matter of time before humans actually experience what the film foresees.
Since Theodore's (Joaquin Phoenix) interactions with humans are unsatisfying, he buys an application that promises to develop a personality specific to him. It is not long before he is confiding in "Samantha" and developing romantic feelings. Jonze's script feels believable yet imaginative. And at its core is an understanding of some basic issues that can complicate such relationships.
Phoenix does a good job playing Theodore as a mild-mannered man who is emotionally vulnerable, if somewhat naïve. Scarlett Johansson plays the part of Samantha so well, it is difficult to imagine anyone else in that role. It might be overreaching to expect viewers to totally believe that an AI personality might behave just as portrayed in the film, but the character is so enthralling, one wants to believe.
The twists in the story are brilliant, even if the ending is a little weak. On the other hand, some might view the ending as preamble to another, better chapter. There is a choice.
Two Weeks with Love (1950)
By The Light Of The Silvery Moon
A family goes to the Catskills for two weeks of vacation, and the two daughters try to break out of their parental constraints, especially when it comes to men. No, this is not "Dirty Dancing." Far from it, as American mores were struggling with remnants of the Victorian Era. On the other hand, Baby and Lisa Houseman were part of a generation leaving the square 50s for the socially aware 60s, soon to be the turbulent 60s.
But 17-year-old Patti Robinson (Jane Powell) and her kid sister Melba (Debbie Reynolds) want to wear more mature fashions, stay out later and, most importantly, attract the attention of young men. But they are very different from each other. Patti is rather demure, though she can belt out a rousing song when called upon. Melba doesn't hold back when expressing her interest in a boy, like 16-year-old Billy Finlay (Carleton Carpenter), who only has eyes for Patti.
Powell and Reynolds each get their chances to sing, and those performances are the best parts of the film. It is particularly fun to watch Debbie Reynolds, who is really a teen, make her mark with this role. Still two years before "Singin' in the Rain", she shows immense talent, likability, and an infectious energy. Her duet with Carleton Carpenter---"Aba Daba Honeymoon"----is a milestone in her career.
Patti Robinson expresses her burgeoning maturity by setting her sights on a dashing newcomer to the resort, Demi Armendez (Ricardo Montalban), whose age is not established, though Montalban is 30 in real life. Their odd courtship deals with many obstacles, but it really doesn't matter; Patti's freedom from severe parental restraints is the point of her story.
The film does a fine job of capturing the beginning of the twentieth century in styles and customs. It is not a major musical, but it is pleasant.
Se7en (1995)
Masterful, Suspenseful, Compelling
Probably not for everyone, "Se7en" is a dark film that explores the worst part of mankind. Its opening credits set the tone with graphics that are messy, jagged, gritty and graphic, evoking a mood that is uneasy, surreal, even abnormal and dystopic. The film takes place in an urban setting. It is a city of noise, sirens, grime, and unrelenting rain and disharmony.
Two police detectives are paired just as one is only seven days from retirement. Somerset (Morgan Freeman) has a world view tempered by decades on the force. He is so far past believing in justice and righteousness that nothing shocks him. His new partner, Mills (Brad Pitt) has just transferred in, and hopes to establish a new life in the city with his wife, Tracy (Gwyneth Paltrow).
Somerset immediately sees ritualism in a crime scene that is revolting. It drives him to dig deeper, and he discovers clues that begin to profile a murderer who is intelligent, dedicated, and patient----traits that promise other victims and more gruesome crime scenes. Since the murderer leaves clues, Somerset and Mills feel that their mission is personal.
Director David Fincher creates at atmospheric film that gives the viewer little respite from the brutality of its urban nightmare. By the film's end, it pushes into the horror genre. But the film is so well made, the story so tightly told, so well-paced.
One of the best scenes is a chase. Mills is on the heels of a suspect, navigating the labyrinthine hallways and alleyways of a dangerous, dingy neighborhood. The danger feels real. There is fear around every corner. And, once again, it seems the suspect remains just out of reach.
Just as Mills is compelled to chase, we are compelled to follow this story to its end, to discover what? Fincher draws the viewer in and expertly delivers a dramatic denouement.
Guys and Dolls (1955)
A Musical Classic
It's true this film could be better than it is, but it still includes a wealth of enjoyable scenes. Despite open hostilities between cast members, everyone does his best. The casting of Marlon Brando as Sky Masterson and Jean Simmons as Rachel Brown is regrettable, but they still have their charms.
Enjoy the spectacle of the sets, the costuming and, especially, the production numbers. Michael Kidd's choreography is inspired.
The story----about some New York hoods who are feeling the heat from the cops, but are itching to play craps---provides a good backdrop for an unlikely love story and some strong comedic elements. Standouts include Viviane Blaine (as Miss Adelaide), Stubby Kaye (as Nicely-Nicely Johnson), and, yes, Frank Sinatra (as Nathan Detroit), whose vocal talent and natural acting are the keystone of the film, along with the music of Frank Loesser.
The title song, "Fugue for Tinhorns", "Luck, Be a Lady", and "Sit Down, You're Rockin' the Boat" are the highlights. What a tremendous collection of songs!
The Most Dangerous Game (1932)
A Fanciful Melodrama
Based upon a short story by Richard Connell, this film with the clever title does a good job of translating the O. Henry Award winner to the big screen, though it seems aimed at younger audiences.
Joel McCray is Bob, a hunter who is shipwrecked on an isolated island where he discovers a forbidding fortress-like residence occupied by a Russian, Count Zaroff (Leslie Banks), who shares his love of hunting. The count and his minions are the only inhabitants of the island, though two other guests temporarily reside there, awaiting repairs to the Count's boat. One of them is Eve (Fay Wray), who tries to warn Bob that the Count is dangerous. But before Bob can really understand the circumstances, he is caught up in the Count's ignoble game.
The film is reminiscent of other theater offerings of the day. It feels like it would appeal to young audiences who were watching the weekly serials, with its melodramatic flair, sloppy fighting, and an appropriately evil villain. The dialogue also lacks subtlety or naturalism. At one point, a man in the water is attacked by a shark and he says, "Ah, he got me!"
McCray does what he can with the role. Wray, only one year before her appearance in "King Kong" (on another island), does a good job with her abbreviated role.
One Day (2011)
Are you there, Moriarty? It's me, Emma.
I am a fan of Anne Hathaway. She does not disappoint in this story about a relationship between a man and woman which does not follow the usual course of romances.
We see Emma and Dexter (Anne Hathaway and Jim Sturgess) on the night they first make a connection. And the film is a series of vignettes on the anniversaries of that meeting over the course of eighteen years. As they mature and their lives change, the two manage to stay in touch. That narrative structure results in some weak entries in the "log" of their lives. And there are moments when the relationship is strained to its breaking point. But a special affinity persists throughout.
The story is not strictly chronological. Flashbacks eventually reveal events that account for the resilience of the relationship. And there is a subtlety to the revelation of their dedication to each other.
Hathaway shines, as always. Sturgess is unflinching in his character's portrayal. Fortunately, there is a coda of sorts which allows Dexter to show his appreciation for all that Emma is.
This may not be everyone's idea of an enjoyable film. In some ways, it is an "anti-romance". But it does celebrate Emma and it demonstrates how important it is to appreciate who you have in your life.
Les parapluies de Cherbourg (1964)
Deneuve Shines
This is the simple story of a sixteen-year-old girl who is in love with a young man who works in a garage. It is most notable for being the breakthrough film of Catherine Deneuve, who was nineteen at the time of filming. It is also notable for its form, which might be called Jazz/Pop Opera, since all the lines of dialogue are sung.
In the story, young Genevieve (Deneuve) and her lover, Guy (Nino Castelnuovo), consider themselves life mates, but doubts creep in when Guy is drafted and they must be apart for about two years. In his absence, she caves to certain pressures and they both move on with their lives.
The music by Michel Legrand is enjoyable. The theme song is iconic, and another song (later retitled "Watch What Happens" and sung by Frank Sinatra), also stands out. Director Jacques Demy uses bright colors and bold sets, which create a cartoonish feel, but also integrate the actors into their surroundings.
Whatever message the film might hold, it does not correlate with the vibrant images. The love affair of Genevieve and Guy does not burst like fireworks across the screen or, even, survive to serve as an inspiration for lovers everywhere.
Unfortunately, the acting is likewise uninspired. Deneuve acquits herself well, but others deliver their lines as if at a quick run-through. In one example, a character says, "I'm happy" as if he were preoccupied with other matters.
Damien Chazelle identified this film as an inspiration for "La La Land." Other sung-through films that deserve noting are "Jesus Christ Superstar" from 1973 and "The Phantom of the Opera" from 2004.
Rain Man (1988)
A Classic
A buddy film that breaks the mold, "Rain Man" includes another acting gem by Dustin Hoffman coupled with a strong performance by Tom Cruise. The result is a very entertaining film, with lines of dialogue that have entered the vernacular, and moments that touch the heart and tickle the funnybone.
Tom Cruise plays Charlie Babbitt, a young man who learns he has a brother. When he seeks out brother Raymond (Dustin Hoffman), he finds that Raymond is emotionally challenging. Despite that, he takes on the project of learning about Raymond only to discover some unexpected emotional bonds.
Nominated for eight Oscars, "Rain Man" won Best Picture, Best Actor, Best Director, and Best Writing----deservedly.
This is a feel-good film that challenges the viewer, but rewards at every turn. It is one of the best films of the 80s.
Anchors Aweigh (1945)
Some Excellent Performances
As they have done bandleaders in other films, MGM is really pushing Jose Iturbi in this one. He gets a few turns at the piano, and the narrative of the film revolves around getting the maestro to audition an undiscovered singer. But what really drives this film are the performances of its three stars.
Frank Sinatra, still early in his film career, plays the part of Clarence Doolittle, a sailor who lacks talent courting the ladies. His buddy is Joe Brady (Gene Kelly), a guy who seemingly can woo any beauty without breaking a sweat. They win four days leave and head to Hollywood. Their plans are detoured by a boy and his aunt (a young Dean Stockwell and Kathryn Grayson). Aunt Susie, who claims she can sing, hopes for Mr. Iturbi to one day hear her. The two gobs spend some time trying to make her dream come true.
Sinatra shows he has it all: charisma, acting chops, that magic voice, and even the ability to hoof it with Gene. Kelly and Grayson do what they always do: deliver excellent dancing and opera-quality singing. Each of them delivers a few solos, as well as duets with the others. Sinatra's performances, in particular, are the highlight of the film.
The Counterfeit Traitor (1962)
Caught In A Web Of Intrigue
WWII characters judged harshly for their mostly neutral stance on the war include Sefton from "Stalag 17" and Shears from "The Bridge on the River Kwai", both played by William Holden. Here, Holden plays the part of Eric Erickson, a Swedish oil importer who, like his country, prefers to remain neutral in the midst of the conflict. Unlike the other two films, "The Counterfeit Traitor" is a true story.
The film is narrated, in part, by Erickson---a strategy that works fairly well. Erickson is effectively blackmailed by Allied agents to cooperate in gathering information about Nazi refinery operations. The early minutes of the film detail Erickson's attempts to gain the trust of important Germans and to contact other agents in the field. It's a dirty and dangerous game, but Erickson has little choice.
He meets Marianne Mollendorf (Lilli Palmer), who is involved for ethical reasons, and she changes his perspective over time. As the war continues, the stakes become greater, as do the risks. In the second half of the film, the story becomes more entertaining due to more action, including chases and near-misses. It really is a remarkable story to be true.
The acting is good across the board. Watch for the creepy portrayal of a Hitler youth played by Helo Gutschwager. Holden and Palmer are excellent.
Marry Me (2022)
"Every Heartbreak Was A Yellow Brick Road"
On the eve of an extravaganza that was supposed to be media-intensive wedding production between two superstars, Kat (Jennifer Lopez) and Bastian (Maluma), there is a big surprise that derails everything. Kat, who is emotionally bereft, makes a decision that will change the course of her life. Owen Wilson plays Charlie, a math teacher who becomes caught up in Kat's life.
Triple threat J. Lo demonstrates once again that she is underestimated and underappreciated by delivering a performance that very few artists could handle. Since she portrays a singer who performs in concert, the film provides musical productions within its narrative. The soundtrack includes her singing the memorable "On My Way." Though the story is not impressive, it is a showcase for her acting.
Watch for Sarah Silverman in a small part that allows her to be her lovable, funny self. And a young actress named Chloe Coleman plays Lou, Charlie's daughter, and feels authentic.
This is an enjoyable romance that feels somewhat, but not too much, absurd.
Marty (1955)
Borgnine's Showpiece
Notably written by Paddy Chayefsky, "Marty" is the film that made Ernest Borgnine's career. It is a simple film, covering the events in the life of Marty, an Italian butcher in New York City, during a short time period. Call it a character study, because the camera focuses on Marty as he works, deals with his family at home, and socializes.
The key to Marty is his self-deprecation. He is a good soul, but when it comes to dating, personal experience has taught him that he is a fat, ugly man, to use his words. It seems all of society is pressuring Marty to find a wife, but he has largely given up on that quest. Now, he socializes with the other bachelors, repeating the same tiresome behaviors week after week.
All that changes when he meets Clara (Betsy Blair), a similarly demoralized woman who manages to recognize what is good in Marty. Their story is short, but it ends on a high note. In fact, the ending is rather truncated, so the viewer might wish for one more scene to allow what could be a very sweet climax.
Horzhí, má panenko (1967)
Bright, Understated Comedy
This is a character-based comedy about a brigade of firemen holding their annual dance. Milos Forman co-wrote and directed this understated film about the events of the evening, which are rather disorganized.
It begins with a search among the participants for possible entries into their beauty pageant. After an uninspiring and unenthusiastic handful of girls are assembled, nothing goes as planned. Meanwhile, there is concern that the evening's prizes are being pilfered in plain sight. And the guest of honor seems clueless. The background music is played by the ball's brass band.
At the height of the chaos, the action doesn't feel like a Keystone Kops film. Or even a Benny Hill romp. It is more like "Monsier Hulot's Holiday". There is a gentleness to the comedy that stems from the personalities of the characters. An excellent film that uses that same approach is "Local Hero".
Later, Forman will create other films that display a more mature talent, including "One Flew Over the Cuckoo's Nest" and "Amadeus".
Match Point (2005)
A Disjointed Journey
Writer and director Woody Allen delivers a film divided into thirds, expositionally if not time-wise. The first section is full of words, slow moving, and unemotional. We meet Chris Wilton (Jonathan Rhys Meyers), a pro tennis player who gave up the tour, now seeking a job at a prestigious London club. He takes on student Tom Hewett (Matthew Goode), who wants to sharpen his neglected game, and he soon becomes ensconced in the Hewett lifestyle, which is ostentatiously rich. He meets sister Chloe Hewett (Emily Mortimer), who instantly falls for Wilton's looks. He also meets Tom's fiancée, Nola Rice (Scarlett Johansson), who he falls for. In no time, Chris is employed in the Hewett empire and his future, it seems, is set.
When Chris meets Nola, the second portion of the film begins, and it is all about passion. There are kisses in the rain. Though she resists the Wilton wiles, ostensibly due to loyalty and social conventions, and she breaks off with him, we know there is more of their story to come. Eventually, Tom accedes to his mother's wishes and ends his engagement with Nola. Tom moves on to someone else, but we know Chris cannot. Their paths cross again and the passion intensifies. The problem is that Chris has two passions in life: Nola, and the lifestyle he has come to enjoy, a lifestyle that only his now-wife Chloe can give him via her family. Pressure mounts as both women have demands on his time and his energy.
The third part begins when Nola tells Chris she is pregnant. As a viewer, we can see that the two choices confronting Chris have changed. Chris is now operating in a state of desperation. And desperate men take desperate measures. The film becomes more Hitchcockian. The viewer must root for or against Chris. As he meticulously plans his way out of the crisis, we know his success will come down to a moment, or an item of evidence, a stroke of good luck or bad. Director Allen has forecast this moment from the first frames of the film.
In the end, Allen pulls a rabbit out of his hat---a twist that is clever but not worthy of an entire film's purpose. His lesson about luck is enjoyable, but his subsequent lesson about right versus wrong is troubling. He leaves us with a mixed message.
The entire film, saving the end, feels rather Shakespearian. It is well made, but what of the final message? A reviewer for "Salon" noted the film's "detached craftsmanship". I agree with that assessment. The viewer goes through the first two thirds of the film only to be left with a final third that feels like "In Cold Blood". Maybe Allen was going for something closer to Hitchcock's "Rope" or "Strangers on a Train", but he comes up short.
Phantom of the Opera (1943)
The OG Plays Second Fiddle To Love
This film is such a pleasant surprise. Though the focus moves from the Phantom himself, it remains on the classic story. And it has so much to offer.
After a slow start, soon enough the romantic triangle comes to the fore: the hopeful young soprano, Christine DuBois (Susanna Foster) and the two rivals for her affection, baritone Anatole Garron (Nelson Eddy) and police inspector Raoul Daubert (Edgar Barrier). Like much of the story, it is played with a comedic flair that might seem out of place in a horror film, but this film does not really fit into the horror genre. The story of the misunderstood composer who becomes the Phantom is not the center of this film; it is part of the development of Christine's career, and it is a parallel love story.
This is a well-constructed tale that delivers plenty of musical content. And the music is delightful. Other delights are the costuming and the wonderful colors. And an appearance by Franz Liszt! Finally, you have to appreciate any film in which everyone wears a cape, from the police inspector to the phantom to the singers.
In the end, the film reminds us that this is not a horror film but a light-hearted musical romp. Like "Casablanca", it ends not with tearful drama, but with two new buddies arm in arm.