Monday, May 7, 2012
St. Valentine's Day Massacre (1967)
St Valentine's Day Massacre (1967) Roger Corman's low-budget retelling of Al Capone, Bugsy Moran and that day in Chicago in 1929. Despite the documentary style narrative this is a entertaining, completely Hollywood retelling of the actual events. Everyone over acts shamelessly starting with Jason Robards as Al Capone. Machine guns blast away, the cars look authentic, and everyone is dressed impeccably. Its hard to think of anyone less Italian than Jason Robards but he makes it work. Rating ***
Pigs and Battleships
Pigs and Battleships (1961) Set in Yokosuka, with a US Navy base during the Korean War (1951-1953), Imamura's dark satirical movie concerns a young Teen hoodlum excited to be in the Yakuza and diverting the Pigs and food scraps to the black market. His girlfriend objects, and movie follows their troubled relationship, against a backdrop steeped in corruption caused by US Sailors wanting some R&R and the greedy Japanese prostitutes, gangsters and businessmen who want to profit. At times angry but mostly comical, Imamura satirizes both the US sailors (who look like Apes in Sailor uniforms) and the Yakuza.
There are a number of great scenes, including the rape of Haruko and the finale which includes hundreds of rampaging Hogs, however, the movie as whole is just above average due to the dated nature of the satire. Rating ***
There are a number of great scenes, including the rape of Haruko and the finale which includes hundreds of rampaging Hogs, however, the movie as whole is just above average due to the dated nature of the satire. Rating ***
Sunday, April 29, 2012
LA Confidential
Stars: Kevin Spacey, Russell Crowe, Guy Pearce, James Cromwell, Kim Basinger
Plot: In the early 1950s, three very different LA policemen investigate a series of murders.
Pros: Acting, Script, Set Design, Production values, David Strathairn
Cons: Not a chick movie, Silly ending
Best Line: "Go back to Jersey, sonny. This is the City of the Angels, and you haven't got any wings. "
Although often described as a throwback to earlier detective movies, LA Confidential is very modern (and unrealistic) 1990s take on the LA PD of the 1950s. LA Confidential has some great acting, and its the ability of Pearce, Crowe, and Spacey to create vivid well-rounded characters that makes it a great movie. Weirdly the only Oscar win was by Basinger. The movie looks fabulous, and moves at a fast pace. Sadly, its let down by a dumb shoot-out ending that makes no sense whats so ever, besides being completely unrealistic. Further, women may be disappointed since Basinger - playing a prostitute - is the only significant female character.
Summary: Ranked 75 on IMDB best movies of all time, LA Confidential is a winner but that's off the record, on the QT, and very hush, hush. Rating ****
Plot: In the early 1950s, three very different LA policemen investigate a series of murders.
Pros: Acting, Script, Set Design, Production values, David Strathairn
Cons: Not a chick movie, Silly ending
Best Line: "Go back to Jersey, sonny. This is the City of the Angels, and you haven't got any wings. "
Although often described as a throwback to earlier detective movies, LA Confidential is very modern (and unrealistic) 1990s take on the LA PD of the 1950s. LA Confidential has some great acting, and its the ability of Pearce, Crowe, and Spacey to create vivid well-rounded characters that makes it a great movie. Weirdly the only Oscar win was by Basinger. The movie looks fabulous, and moves at a fast pace. Sadly, its let down by a dumb shoot-out ending that makes no sense whats so ever, besides being completely unrealistic. Further, women may be disappointed since Basinger - playing a prostitute - is the only significant female character.
Summary: Ranked 75 on IMDB best movies of all time, LA Confidential is a winner but that's off the record, on the QT, and very hush, hush. Rating ****
Monday, March 19, 2012
I can get it for you Wholesale (1951)
Stars: Susan Hayward, Dan Dailey, George Sanders
Plot: A dress designer bulldozes her way to the top of the garment/fashion industry; but finally has to choose between ambition and love.
Staring two of my favorites: Susan Hayward and George Sanders; "I can get it for you wholesale" has some good moments but can't overcome an extremely wordy script with minimal character development and a predictable plot.
There are *some* funny/witty lines expertly delivered by Sanders & Hayward - but that's larded between a lot of dull/mediocre stuff. As in "Force of Evil" Polonsky seems to believe that word-count equals quality and almost every second of run-time is filled with with talk. Yak, Yak, Yak. And like "Force of Evil" I had a hard time caring about the less-than-likable characters. On the plus side, the acting is quite good, there's a lot of George Sanders being George Sanders, and we get some interesting location shots of 1951 NYC.
**Spoilers Ahead**
The last two scenes in the movie are examples of Polansky's overwriting. Both are well acted and have some good lines - but Polanksy simply can't keep it short and effective. In the Sanders & Hayward scene he has both characters exchange the same thoughts over and over. In the last scene with Jaffe-Hayward-Daily, Sam Jaffe's character has the final words. He only had to say "Teddy, just because 7th avenue is a jungle, there's no need to live like a wild animal. That's what Harriet learned, that's why she's back. Remember Teddy, its not easy to walk back in, after you walked out." Cue embrace. Cut/print it.
Instead Jaffe goes on for another minute - saying nothing memorable or needed. Typical Polansky.
**End Spoilers**
Having seen almost all of Abe Polonsky's films I'm less than impressed with his talents. Its somewhat amusing to read of the author of 'Tell them Willie boy was here" and "Madigan" dissing Kazan -but that's politics in Hollywood. I think Wilder had him in mind when he stated that "Only two or three of the Hollywood Ten had talent, the rest were just unfriendly".
Plot: A dress designer bulldozes her way to the top of the garment/fashion industry; but finally has to choose between ambition and love.
Staring two of my favorites: Susan Hayward and George Sanders; "I can get it for you wholesale" has some good moments but can't overcome an extremely wordy script with minimal character development and a predictable plot.
There are *some* funny/witty lines expertly delivered by Sanders & Hayward - but that's larded between a lot of dull/mediocre stuff. As in "Force of Evil" Polonsky seems to believe that word-count equals quality and almost every second of run-time is filled with with talk. Yak, Yak, Yak. And like "Force of Evil" I had a hard time caring about the less-than-likable characters. On the plus side, the acting is quite good, there's a lot of George Sanders being George Sanders, and we get some interesting location shots of 1951 NYC.
**Spoilers Ahead**
The last two scenes in the movie are examples of Polansky's overwriting. Both are well acted and have some good lines - but Polanksy simply can't keep it short and effective. In the Sanders & Hayward scene he has both characters exchange the same thoughts over and over. In the last scene with Jaffe-Hayward-Daily, Sam Jaffe's character has the final words. He only had to say "Teddy, just because 7th avenue is a jungle, there's no need to live like a wild animal. That's what Harriet learned, that's why she's back. Remember Teddy, its not easy to walk back in, after you walked out." Cue embrace. Cut/print it.
Instead Jaffe goes on for another minute - saying nothing memorable or needed. Typical Polansky.
**End Spoilers**
Having seen almost all of Abe Polonsky's films I'm less than impressed with his talents. Its somewhat amusing to read of the author of 'Tell them Willie boy was here" and "Madigan" dissing Kazan -but that's politics in Hollywood. I think Wilder had him in mind when he stated that "Only two or three of the Hollywood Ten had talent, the rest were just unfriendly".
Tuesday, March 13, 2012
The Big Combo (1955)
Plot: A police detective (Wilde) is obsessed with bringing a suave, and seemingly invulnerable crime boss (Conte) to justice - the gangster's girlfriend may be the weak link.
Stars: Richard Conte, Cornel Wilde, Jean Wallace, Brian Donlevy
Enjoyable but over-praised Film Noir. The plot is pretty standard but with an 84 minute run time that's not a problem. More problematic is the bland Cornel Wilde and the 2 wooden female performances. The action scenes are mixed. A couple are well done, others are almost unintentionally funny. Anyone want a pineapple in a box?
Pluses: A great jazz score and some beautiful B&W cinematography. Also, Earl Holliman and Lee Van Cleef are memorable as the Gay(?) henchmen. Conte is fabulous as the ruthless "Mr. Brown".
Summary: Another "cult film" that leaves me puzzled. I liked it, but its no better than 30 other film-noirs. Rating: ***
Stars: Richard Conte, Cornel Wilde, Jean Wallace, Brian Donlevy
Enjoyable but over-praised Film Noir. The plot is pretty standard but with an 84 minute run time that's not a problem. More problematic is the bland Cornel Wilde and the 2 wooden female performances. The action scenes are mixed. A couple are well done, others are almost unintentionally funny. Anyone want a pineapple in a box?
Pluses: A great jazz score and some beautiful B&W cinematography. Also, Earl Holliman and Lee Van Cleef are memorable as the Gay(?) henchmen. Conte is fabulous as the ruthless "Mr. Brown".
Summary: Another "cult film" that leaves me puzzled. I liked it, but its no better than 30 other film-noirs. Rating: ***
Tuesday, March 6, 2012
Odds Against Tomorrow (1959)
Stars: Harry Belefonte, Robert Ryan, Gloria Grahame, Ed Bergley, Shelly Winters
Plot: A New York City Jazz Singer, a retired disgraced Cop, and a racist muscle-man plan to rob a small town bank in Upstate New York.
Effective little film noir, with some good acting (and some bad), great cinematography, and some good action scenes. Filmed on low "B movie" Budget, director Robert Wise gets all he can out of the location shots on Hudson New York and New York City. Belefonte is surprisingly good as the gambling Jazz Singer who has to become a bank robber to pay-off the Mob, while Bergley is quite sympathetic as the old eccentric who plans the heist. On the minus side, Winters and Grahame aren't given much to do. Ryan does a tired repeat of his usual evil bigot, and the phony southern accent doesn't help.
What keeps "Odds against tomorrow" from being a very good film-noir is the script by Abe Polansky. The movie sags in the middle, and the 3 main characters aren't particularly sympathetic or smart. The 'race issue' stuff is rather dated. Also, Polansky threw away the book's upbeat ending to create his own downbeat symbolic ending - which has all the subtlety of a jack-hammer.
**Avast Ye - Spoilers ahead**
Finally, the heist itself is well filmed except for the incredible idiocy of the police. First, they shoot Ed Bergley six times over 5 minutes, and while having the gang pinned down in the alley never think of sending someone around back to cut off their escape. Later, they let Ryan and Belefonte shoot and chase each other till they get to a Gasworks, where they continue to let the two shoot each other and also blow up the gas works. We don't see any dead Gaswork employees - but no thanks to "Mellon's Finest"!
Plot: A New York City Jazz Singer, a retired disgraced Cop, and a racist muscle-man plan to rob a small town bank in Upstate New York.
Effective little film noir, with some good acting (and some bad), great cinematography, and some good action scenes. Filmed on low "B movie" Budget, director Robert Wise gets all he can out of the location shots on Hudson New York and New York City. Belefonte is surprisingly good as the gambling Jazz Singer who has to become a bank robber to pay-off the Mob, while Bergley is quite sympathetic as the old eccentric who plans the heist. On the minus side, Winters and Grahame aren't given much to do. Ryan does a tired repeat of his usual evil bigot, and the phony southern accent doesn't help.
What keeps "Odds against tomorrow" from being a very good film-noir is the script by Abe Polansky. The movie sags in the middle, and the 3 main characters aren't particularly sympathetic or smart. The 'race issue' stuff is rather dated. Also, Polansky threw away the book's upbeat ending to create his own downbeat symbolic ending - which has all the subtlety of a jack-hammer.
**Avast Ye - Spoilers ahead**
Finally, the heist itself is well filmed except for the incredible idiocy of the police. First, they shoot Ed Bergley six times over 5 minutes, and while having the gang pinned down in the alley never think of sending someone around back to cut off their escape. Later, they let Ryan and Belefonte shoot and chase each other till they get to a Gasworks, where they continue to let the two shoot each other and also blow up the gas works. We don't see any dead Gaswork employees - but no thanks to "Mellon's Finest"!
Wednesday, February 15, 2012
The Great Man (1956)
Plot: A reporter preparing a eulogy for a beloved radio commentator, finds a despicable egomaniac beneath the public persona.
The "Great Man" is sorta of a 2nd rate Citizen Kane. A truth-seeking reporter (Jose Ferrer) finds that beloved, recently deceased, radio figure "Herb Fuller" - isn't the patriotic, likable, salt-of-the-earth guy we were lead to believe. Like Andy Griffith in "A Face in the Crowd", Fuller is supposedly modeled on Arthur Godrey, a popular 1950s Radio/TV personality who seems to have scared the crap out of liberal intellectuals. Reading between the film frames, it seems Liberals were afraid that some kind of smiley, "average joe" personality (aka Godfrey) could be used by "Big Business" to sell 1950s conservatism and capitalism to all the those 'yokels' in heartland. Hence, the push back.
Viewed simply as a movie, "The Great Man" has some good points. The supporting cast is excellent. Kennan Wynn shines as Fuller's slimy "what's in it for me" agent, Dean Jagger is good as the smooth amoral Radio Network President, and Julie London is extremely sexy as the extremely drunk, Widow Fuller. Further, the script is full of good, cynical lines reminiscent of "Sweet Smell of Success".
However, "The Great Man" never really takes off. Partly, its due to Jose Ferrer - who despite his great voice - is too wooden and lacking in charisma. But mostly its the predictable, and low budget story. People talk about "Herb Fuller" but we never see him & we know from the start he's a bad apple. As a result, the narrative lacks drive and suspense. Think 'Citizen Kane', without the great photography or any dialog by Charles Foster Kane.
Summary: "The Great Man" isn't great - but its a forgotten picture worth a watch - if only for the 50s atmosphere and the supporting actors. Rating **1/2
The "Great Man" is sorta of a 2nd rate Citizen Kane. A truth-seeking reporter (Jose Ferrer) finds that beloved, recently deceased, radio figure "Herb Fuller" - isn't the patriotic, likable, salt-of-the-earth guy we were lead to believe. Like Andy Griffith in "A Face in the Crowd", Fuller is supposedly modeled on Arthur Godrey, a popular 1950s Radio/TV personality who seems to have scared the crap out of liberal intellectuals. Reading between the film frames, it seems Liberals were afraid that some kind of smiley, "average joe" personality (aka Godfrey) could be used by "Big Business" to sell 1950s conservatism and capitalism to all the those 'yokels' in heartland. Hence, the push back.
Viewed simply as a movie, "The Great Man" has some good points. The supporting cast is excellent. Kennan Wynn shines as Fuller's slimy "what's in it for me" agent, Dean Jagger is good as the smooth amoral Radio Network President, and Julie London is extremely sexy as the extremely drunk, Widow Fuller. Further, the script is full of good, cynical lines reminiscent of "Sweet Smell of Success".
However, "The Great Man" never really takes off. Partly, its due to Jose Ferrer - who despite his great voice - is too wooden and lacking in charisma. But mostly its the predictable, and low budget story. People talk about "Herb Fuller" but we never see him & we know from the start he's a bad apple. As a result, the narrative lacks drive and suspense. Think 'Citizen Kane', without the great photography or any dialog by Charles Foster Kane.
Summary: "The Great Man" isn't great - but its a forgotten picture worth a watch - if only for the 50s atmosphere and the supporting actors. Rating **1/2
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