Tuesday, November 05, 2019
3 Days of the Condor
- Commentary: I can't believe it's taken me this long, and this movie, in particular, to initiate the label category "spy". Clearly, I have other "spy" movies, the Jason Bourne movies coming most immediately to mind. Didn't occur to me, though, back then, to create a "spy" category. Let's see, I'm thinking Hanna, too, and, well, I'm sure, more.
In fact, although I have some spy movies, I'm not really a spy movie aficionado. There are, for instance, so many James Bond movies I haven't seen that, frankly, I can't remember the ones I have seen.
I'm not much of a Robert Redford fan, either. I own some movies in which he stars or is a member of a celebrated ensemble cast (i.e. The Sting), but my curiosity about any movie isn't piqued because he happens to be in it. I think, in fact, that I've seen (and probably own) more movies that he's produced and/or directed than those in which he's acted.
That being said, I really enjoy this movie. It's my kind of spy movie: You know but you just don't know; you never know; too bad for you; now what're you gonna do?!?
Actor Role Actor Role Actor Role Actor Role Robert Redford Joseph Turner Faye Dunaway Kathy Hale Cliff Robertson Higgins Max von Sydow Joubert John Houseman Wabash Addison Powell Leonard Atwood Walter McGinn Sam Barber Tina Chen Janice Chong
Here's a link to the Wikipedia write-up for this film.
Release Date: 1975
Directed by Sydney Pollack.
Labels: adventure2, detective1, drama2, faye-dunaway, max-von-sydow, political1, robert-redford, spy, suspense1, thriller1
Ace in the Hole
- Commentary: I didn't know anything about this film when I first checked it out for viewing. I was on a binge, at the time, of watching movies that were made the year I was born and this was one of them. I barely remember any of the other movies I found (not a lot; our county library system is a bit short of 1951 films, even though there were plenty made, according to this list, 1,744, to be exact). This was not the only 1951 movie Kirk Douglas made, and it's not the only 1951 movie I own, but it's a doozy.
If you think the late 1960's through the early-to-mid 1970's had the bead on socially relevant movies, watch this one. The behavior depicted (brilliantly, in my estimation) in this film is so ubiquitous, now-a-days, not only by individual journalists (of which there are many Chuck Tatums) but by entire media corporations, that many don't even realize there is a problem ... until, that is, they watch this 68 year old movie. If you entertain, even a little bit, a healthy skepticism of today's media, you should treat yourself to this movie.
Actor Role Actor Role Actor Role Actor Role Kirk Douglas Chuck Tatum Jan Sterling Kirk Douglas Kirk Douglas Herbie Cook Porter Hall Jacob Q. Boot Frank Cady Mr. Federber Richard Benedict Leo Minosa Ray Teal Sheriff Kretzer Lewis Martin McCardle John Berkes Papa Minosa Frances Dominguez Mama Minosa Gene Evans Deputy Sheriff Frank Jaquet Sam Smollett Harry Harvey Sr. Dr. Hilton Bob Bumpas Radio Announcer Richard Gaines Nagel Bert Moorhouse Josh Morgan
One of Roger Ebert's Great Movies.
Here's the link to the Wikipedia write-up for this film.
Release Date: 1951
Directed by Billy Wilder.
Labels: birth-year, Criterion1, drama2, film-noir1, journalism, kirk-douglas, melodramaB, political1, psychological1, suspense1
Tokyo Story
- Commentary: This movie is the Japanese version of Make Way for Tomorrow. Literally. Ozu admitted, at one time, that he was influenced by Make Way for Tomorrow to create this movie. This is also my favorite Ozu film, if I can be said to have a favorite. I also love Ikiru, although I don't own it (yet), and, of course, I do own An Autumn Afternoon, which I also love. Ozu had a way with the subject of aging. Tokyo Story is never maudlin, never particularly editorial (although, of course, fiercely editorial in the choice of subject matter). Tokyo Story is also not pointedly about aging, but, rather, about inter-generational conflict when aging is involved. And yet, despite its trajectory, it does not strike me as tragic. Perhaps that's because I was my mother's enthusiastic companion through her last almost two decades and subtly nurtured her amazing belief that she was going to live forever in the flesh. She, by the way, informed me that I would also live forever in the flesh, a prophecy that I happily embraced. Are you kidding? The two of us living, together, forever? Oh, my what adventures we'd have (to misquote Dr. Seuss)!
Roger Ebert was so impressed with the movie that he wrote two reviews of it: the second, a "Great Movies" review, linked to the title of this post and the first, his review after the first time he saw it, which is linked a bit further down in this post. They are somewhat similar, but I think any readers will get a kick out of comparing the two.
In addition, the cinematography and the choices made in regard to connecting scenes are intuitively brilliant, from my perspective. The mood is preserved, throughout, by these delicate, connecting links in the chain of the story.
Actor Role Actor Role Actor Role Actor Role Chishū Ryū Shūkichi Hirayama Chieko Higashiyama Tami Hirayama Setsuko Hara Noriko Hirayama Haruko Sugimura Shige Kaneko So Yamamura Kōichi Hirayama Kuniko Miyake Fumiko Hirayama Kyōko Kagawa Kyōko Hirayama Eijirō Tōno Sanpei Numata Nobuo Nakamura Kurazō Kaneko Shirō Ōsaka Keizō Hirayama Hisao Toake Osamu Hattori Teruko Nagaoka Yone Hattori
Here's a link to the Wikipedia write-up of the film.
Release Date: 1953
Directed by Yasujirō Ozu.
Labels: §1, aging, chishū-ryū, Criterion1, drama2, film-art1, psychological1, spiritual1, yasujirō-ozu
Klute
- Commentary: I love, love, love this movie! I did not see it originally in the theater, although I was certainly old enough to see it (on Guam, where I was living at the time, age restrictions on adult material were rigorously enforced). I don't remember it even playing on Guam, which isn't surprising because, frankly, movies were a few-and-far-between entertainment for our family when I was growing up. It was probably shown on Guam. One of my sisters and I saw Midnight Cowboy and I am Curious (Yellow) on Guam. For some reason, though, I wasn't aware of Klute coming out.
I don't really remember when I first saw it, but it's been a staple of my movie diet since. I don't think Mom ever saw it. I think I may have "hidden" it from her when I checked it out while she was alive. I was probably being too cautious, but, then again ... well, you just never know, when you're dealing with a "pure spirit". Still, thinking about it, now, I don't think she would have liked it, or even been interested in following it.
I have several reasons for loving this movie. The acting is spot on. The atmospherics are spot on. The cinematography is spot on. It isn't a surface movie, one of the reasons I appended the tag "economic" to this movie ... it is a movie about the economics of women, which is the reason I also appended the tag "women's-movie" to it. It's definitely a multilayered drama. I'm glad I own the Criterion edition of this movie. The special features are interesting and well thought out.
For my money, though, it's one of my favorite creepy thrillers, if not my most favorite (and, I'm not really sure what my favorite creepy thriller is).
For your information, for fun (movie mavens find our "fun" in strange ways) the 3rd tier of the Actor/Role table below is later famous actors who played bit parts in this movie. All but Jean Stapleton are uncredited. I think you'll find it as interesting as I did.
Actor Role Actor Role Actor Role Actor Role Jane Fonda Bree Daniels Donald Sutherland John Klute Charles Cioffi Peter Cable Roy Scheider Frank Ligourin Dorothy Tristan Arlyn Page Rita Gam Trina Nathan George Trask Vivian Nathan Psychiatrist Jean Stapleton Goldfarb's Secretary Veronica Hamel Model Kevin Dobson Man at Bar Sylvester Stallone Club Patron
Release Date: 1971
Directed by Alan J. Pakula.
Labels: alan-j-pakula, Criterion1, detective1, donald-sutherland, drama2, economic, neo-noirA, paranoia-trilogy, suspense1, thriller1, women's-movie1
Monty Python's Life of Brian
- Commentary: O.K. Look. Considering how Christianity has had an extraordinary impact on several branches of my family (one of my great grandfathers and one of my great uncles were Methodist preachers, the first of whom was a fire-and-brimstone circuit rider), I could not not own this movie, eventually. Yes, I have reverence for spirituality, but I have none for the institution of Christianity. I don't even agree with everything Jesus was purported to have said. So, this movie is a vigorous, always laughter-provoking, head nod for me.
Would my mother have enjoyed it (she never saw it), being a woman of faith? Yes, I think so. One of my sisters once pronounced her a "pure spirit". I agree with that assessment. The solemnity of her faith, though, was liberally mixed with realism and a questioning attitude. She was not averse to bringing Jesus to task. Maybe she's who taught me how to lean into irreverence.
Once again, Roger Ebert wrote two reviews of this movie: the first in 1979, linked to this post title, the second on its re-release in 2004.
By the way, all members of Monty Python and a few other actors played multiple roles in this movie. I'm listing only one per member.
Actor Role Actor Role Actor Role Actor Role Graham Chapman Brian Cohen John Cleese High Priest Terry Gilliam Mount Sermon attendee Eric Idle Mr Cheeky Terry Jones Mandy Cohen Michael Palin Mr. Big Nose Terence Bayler Mr. Gregory Carol Cleveland Mrs. Gregory Charles McKeown False Prophet Kenneth Colley Jesus Sue Jones-Davies Judas Iscariot John Young Matthius
Just in case, here's the Wikipedia link to this movie.
Release Date: 1979 & 2004
Directed by Terry Jones.
Labels: bible-movies1, comedy1, dramedy1, fantasy1, film-art1, jesus-dvds, me-favorite1, religion1, satire1
The Lion King 2019
- Commentary: I confess that I have not yet seen this movie. When I picked it up at Costco I was delighted I was finally able to purchase it, remembering my pleasure in the 1994 (and original) version of this story.
I haven't yet watched this movie. Suffice it to say, I expected to watch it the day I purchased it. Then, I looked up the Wikipedia article about this version and completely confused myself with the stridently divided critiques of it. While praising the voice acting, critics simultaneously called the movie various versions of "soulless". How is it possible for excellent voice acting to render a "soulless" movie, I wonder? Maybe some critics had a problem with the cgi-animation. Frankly, I love cgi-animation, so, we'll see. Soon.
Maybe today.
Actor Role Actor Role Actor Role Actor Role Donald Glover Simba Seth Rogen Pumbaa Chiwetel Ejiofor Scar Alfre Woodard Sarabi Billy Eichner Timon John Kani Rafiki John Oliver Zazu Beyoncé Knowles-Carter Nala James Earl Jones Mufasa Florence Kasumba Shenzi Keegan-Michael Key Kamari Eric André Azizi
In case you're curious to see what information Wikipedia has to offer about this latest film rendition of the story, here's the link.
Release Date: 2019
Directed by Jon Favreau.
Labels: §, adventure2, animated, cgi-animation, coming-of-age1, kids, musical1, royals
The King of Comedy
- Commentary: O.K. This movie is just fun for me. When I want to be jolted back into a realistic perspective about the follies of U.S. media this film is my go-to. Robert de Niro is simply superb in a role so unlike most of his other roles, whether they be serious or comedic. His renown in reality isn't beside the point, it is the point. Jerry Lewis is luscious and hilariously serious. Sarah Bernhard is perfectly cast. It's as though everyone involved in this film just got it. And gave it.
Side Note: Aside from the fact that this movie, in itself, is an inside/outside joke, full, as well, of inside/outside jokes, one of the broadest of these jokes is that many, many participants in this movie reprise their own performance personalities.
Actor Role Actor Role Actor Role Actor Role Robert De Niro Rupert Pupkin Jerry Lewis Jerry Langford Sandra Bernhard Masha Diahnne Abbott Rita Keene Shelley Hack Cathy Long Margo Winkler Receptionist Kim Chan Jonno Frederick De Cordova Bert Thomas
Also, just in case, here's the Wikipedia write-up about this film. As well, while in Cannes for the festival that played this film, Roger Ebert interviewed Jerry Lewis. There isn't much, directly, about Lewis' appearance in the film, but a lot about the celebrity issues this film raises.
Release Date: 1982
Directed by Martin Scorsese.
Labels: comedy1, martin-scorsese, robert-de-niro, satire1
The Ballad of Narayama
- Commentary: I have seen two of the three filmed versions of this story. The other one I've seen is covered here. Frankly, I wouldn't mind owning both, but the price of the second remains prohibitive. Of the three versions that have been made of this movie, though, this version is my preferred version. It's hard to explain why, considering that the second version referred to above is the more movie-like. This version, aside from telling the story well and totally involving me, is also an experiment in presentation for the filmmaker. For me, it is more jolting than enjoyably somber. The second is more enjoyably somber than jolting. I guess I prefer being jolted, when it comes to this movie.
You'll notice I'm not labeling this movie a "tragedy". That's because, all things considered, it's not. It's a meditation on death, yes, but not tragic death, just death. One of Roger Ebert's Great Movies.
Actor Role Actor Role Actor Role Actor Role Kinuyo Tanaka Orin Teiji Takahashi Tatsuhei Yūko Mochizuki Tamayan Danko Ichikawa Kesakichi Keiko Ogasawara Matsu-yan Seiji Miyaguchi Matayan Yūnosuke Itō Matayan's Son Ken Mitsuda Teruyan
For the Wikipedia write-up on this film, click here.
Release Date: 1958
Directed by Keisuke Kinoshita.
Labels: §2, aging, Criterion1, drama3, haunting1, historical1, period1, psychological1, spiritual1
The Age of Innocence
- Commentary: Truth is, I read this novel long, long, long before I saw this movie, which is why I was reluctant to see it. I read the book at a time, being an older teen, when I found the story poignant and troubling. This is no longer true for me. The movie exists for me, now, as an opulent drama of manners, well done by Scorsese, well acted by the entire cast and a great way to spend a rainy (or snowy, which was the weather the last time I watched it) afternoon in a mountain community.
Roger Ebert christened this movie as one of his "Great Movies", as well. In addition, he conducted an interview with Martin Scorsese specifically about this movie and Scorcese's history with it, among other issues highlighted by the movie.
Actor Role Actor Role Actor Role Actor Role Daniel Day-Lewis Newland Archer Michelle Pfeiffer Ellen Olenska Winona Ryder May Welland Miriam Margolyes Mrs. Mingott Geraldine Chaplin Mrs. Welland Michael Gough Henry van der Luyden Richard E. Grant Larry Lefferts Mary Beth Hurt Regina Beaufort Robert Sean Leonard Ted Archer Norman Lloyd Mr. Letterblair Alec McCowen Sillerton Jackson Siân Phillips Mrs. Archer Carolyn Farina Janey Archer Jonathan Pryce Rivière Alexis Smith Louisa van der Luyden Joanne Woodward Narrator
Just in case, as always, here's the Wikipedia write-up for this film.
Release Date: 1993
Directed by Martin Scorsese.
Labels: Criterion1, drama3, historical1, joanne-woodward, jonathan-pryce, martin-scorsese, period1, popcorn-and-soda1, romance1, spectacle1
Make Way for Tomorrow
- Commentary: I first saw this movie the Thanksgiving after my mother died. I was preparing to travel down to the Phoenix metroplex to share a late afternoon Thanksgiving dinner with one of my sisters' families. I awoke early, was ready to go within an hour and looking for something to do until I felt it optimal to leave for the drive down to The Valley. I switched on TCM and up came this movie. I'd never heard of it, but the title intrigued me.
What a film! Despite it having been released in 1937, it addressed a situation so common, today, that the movie industry continues to release a new take on "what-to-do-about-the-elderly" once every couple of years, or so. As a society, here in the U.S., we never get tired of fearing the aging of our parents, and then, our own aging ... and we still don't have it figured out. Every time I watch this movie, I think of a scene out of another movie (which I can't place, at the moment, I don't think I own it), an animated feature, possibly Brother Bear, but I'm not sure, I should rent that movie from the library and see, in which a young character's grandmother features in a short segment, gathering flowers in a forest and explaining the joys of being old. It's a laudable portrayal, but not really true of aging in our society (or some other societies). This movie is true. And depressing. As hell.
Upshot is, I was so impressed with this movie I attempted to talk about it during my Thanksgiving visit. My sister was having none of it. Which kind of proves my point.
With this movie, I'm instituting a new label category, "aging". I'm surprised it didn't exist before this. I guess I share the same psychological malady of having trouble contemplating aging with the rest of my society. Now I'm curious: How many more movies do I own to which this label could apply? Probably not many, which, yet again, underscores my point.
Roger Ebert christened this movie as a "Great Movie", linked to the title of this post.
Actor Role Actor Role Actor Role Actor Role Victor Moore Pa Cooper Beulah Bondi Ma Cooper Fay Bainter Anita Cooper Thomas Mitchell George Cooper Porter Hall Harvey Chase Barbara Read Rhoda Cooper Maurice Moscovitch Max Rubens Elisabeth Risdon Cora Payne Minna Gombel Nellie Chase Ray Meyer Robert Cooper Ralph Remley Bill Payne Louise Beavers Mamie
For the curious, here's the Wikipedia write-up about this film.
Release Date: 1937
Directed by Leo McCarey.
Labels: aging, beulah-bondi, Criterion1, drama3, louise-beavers, psychological1, spiritual1, thomas-mitchell, tragedy1
Swing Time
- Commentary: The story is silly and forgettable but the dancing is divine - "an exuberant celebration of its stars' chemistry, grace, and sheer joy in the act of performance", per the back of the movie case. This movie remains one of the standards of dance musicals. It may be old, it may be black & white, but it is, as I note in the labels, a spectacle. Such a spectacle, in fact, that Roger Ebert has named it one of his "Great Movies", as the link affixed to the title of this post will explain.
And, yes, Mom loved this movie, too. We didn't own it, but it was ever-available through our county library system and we liberally took advantage of that. That's why I decided to own it, now. Since my mother's death, it's been a frequent check-out of mine. Why not own it?!? In fact, why not own the Criterion edition of it?!?
Actor Role Actor Role Actor Role Actor Role Fred Astaire John Garnett Ginger Rogers Penelope Carroll Victor Moore Edwin Cardetti Eric Blore Mr. Gordon Helen Broderick Mabel Anderson Betty Furness Margaret Watson Georges Metaxa Ricardo Romero Landers Stevens Judge Watson
Here's the Wikipedia write-up for this movie.
Release Date: 1936
Directed by George Stevens.
Labels: Criterion1, dance, dramedy1, fred-astaire, me-favorite1, musical1, popcorn-and-soda1, romance1, spectacle1
Monday, November 04, 2019
Nashville
- Commentary: Owning this movie is a long time coming for me. I've just reviewed a list of Altman's motion pictures (vs. his "short industrial films", etc., of which there are many) and discovered that I've seen almost all of his films but do not universally love his work, although I admire and am grateful for the entire body of his motion picture work. He tried everything, tried to tackle everything, sometimes succeeded, sometimes, well, didn't, but what he finally committed to film stock was (and is) always interesting.
I think this film, Nashville, is his greatest work. It is observant, reflective, entirely non-judgmental from the perspective of the film maker while allowing his characters and their stories to make their own judgments. Mind you, I am not a classic Country Music fan. There have been many episodes in my life when I have, literally, cringed when listening to a radio station and hearing the first few wails of a slide guitar. But, this movie isn't about country music. It's about the United States. Using the offhand medium of Country Music concerts, Altman captured the ambivalence of the United States' dual in-your-face, get-off-my-property character. The movie is gorgeous. On all levels. I never get tired of watching it; which is why, when I discovered I had a chance to own it, I jumped on it.
In addition, Roger Ebert wrote a second review for Nashville when he christened it one of his "Great Movies" twenty five years after his first review.
I'm inaugurating a new label with this movie: reflective. Likely, that category fits a few other movies, here. I will, eventually, get around to attaching it to the appropriate films. In the meantime, when I'm done, here, entering my new acquisitions, I think I'll settle into a viewing of this movie. Again.
Actor Role Actor Role Actor Role Actor Role David Arkin Norman Barbara Baxley Lady Pearl Ned Beatty Delbert Reese Karen Black Connie White Ronee Blakley Barbara Jean Timothy Brown Tommy Brown Keith Carradine Tom Frank Geraldine Chaplin Opal Shelley Duvall Martha Henry Gibson Haven Hamilton Jeff Goldblum Tricycle Man Scott Glenn Pfc. Glenn Kelly Michael Murphy John Triplette Lily Tomlin Linnea Reese Keenan Wynn Mr. Green Thomas Hal Phillips Hal Phillip Walker (voice)
Release Date: 1975
Directed by Robert Altman.
Labels: comedy1, Criterion1, drama3, musical1, ned-beatty, reflective, road-movie, robert-altman, satire1, tragedy1
