Ernest Borgnine's final film, The Man Who Shook the Hand of Vincente Fernandez, opens theatrically with a one-week run at the Laemmle Encino Town Center Theater beginning today. The independent production is a modestly-budgeted family comedy/drama that presents the legendary Oscar-winner with the kind of showcase role that actors in their nineties almost never have. Borgnine makes the most of it, too, giving a terrific and moving performance that earned him the Best Actor award at this year's Newport Film Festival. Written and produced by Elia Petridis, Fernandez centers on Rex Page (Borgnine), a cantankerous old coot given to griping about every aspect of life. He seems oblivious to the fact that he has an adoring wife (June Squibb), a devoted middle-aged daughter (Dale Dickey) and and a worshipful granddaughter (Audrey P. Scott). Rex is frustrated by his failure to fulfill his dream of becoming a big time actor on the silver screen. He once came close to landing the leading role in a spaghetti Western, but lost out to a competing actor. He's spent a lifetime in self-imposed hell, obsessed with watching this B movie and learning every line of dialogue, which he repeats to anyone in his presence. When a health crisis sees the fiercely independent Rex move into a nursing home, a series of incidents motivate him to reevaluate his life. The nursing home is a money mill for corrupt bureaucrats who use the patients as cash cows. It doesn't take Rex long to figure this out and he quickly wears out his welcome by insulting and chastising fellow elderly patients who are part of a click belonging to the corrupt family that owns the facility. He also is abrasive towards the largely Hispanic staff of nurses and orderlies, often referring to them in unflattering racial insults.
The relationship between Rex and his caregivers gradually softens, however, when the young staff members learn that Rex, a former popular DJ, once briefly met and shook the hand of the film's titular character, Vincente Fernandez, a "Mexican Frank Sinatra" who enjoys mythic stature in the Hispanic community. Rex transfixes the staff by telling and retelling his account of this brief meeting in the 1970s. This common bond allows Rex and the staffers to form a mutually respectful relationship that grows stronger by the day. Rex particularly takes a shine to his nurse Solena (stunningly beautiful Carla Ortiz)- and he comes to her defense, saving her from the clutches of would-be molester Dr. Dominguez (Tony Plana), the chief administrator. In a scenario that is a clearly geriatric version of One Flew Over the Cuckoos Nest, Rex inspires his young friends to stand up for their rights and take on the oppressive bureaucrats who exploit them. He must also deal with challenges in his own life when his family feels he's been alienating them in favor of his adopted family at the nursing home.
The film contains more than its share of sugary scenes and corny cliches. (The villains are so lacking in any redeeming qualities that they practically twirl their mustaches.) Nevertheless, director Petridis offers Borgnine the finest role he's had in more years than I can remember. He dominates every scene and, ironically for his final film, looks like the picture of good health. Petridis, who must clearly be obsessive about spaghetti westerns himself, cleverly manages to intertwine many aspects of Western movie lore into this contemporary story so that even a card game between Borgnine and a nursing home nemesis is drenched in Leone-like imagery and music. This homage extends to the brilliant title credits which are cleverly derived from the Sergio Leone/Clint Eastwood "Dollars" trilogy. This is a feel good family film that is marred by one easily correctable misjudgment: the insertion of a completely unnecessary expletive said from a mother to her young child. It's wildly out of place in an otherwise uplifting tale for all ages. If director Petridis is wise, he'll exclude this from the video and pay-per-view versions of the film.
I only had the pleasure of meeting Ernest Borgnine once several years ago for an interview for Cinema Retro magazine. He struck me as a warm, honest and kind individual. Thus, perhaps I had a bit more of a personal outlook when viewing Borgnine's final sequence in this film, which Elia Petridis handles brilliantly. It's so touchingly filmed and directed that I was moved to watch it again on the DVD screener. Not since John Wayne's final scene in The Shootist has a legendary actor had a more appropriate on-screen send off.
The Man Who Shook the Hand of Vicente Fernandez is not high art, nor does it pretend to be. However, it is an enjoyable film that refreshingly extolls family values. The supporting cast members are all very talented and a pleasure to watch, but is Ernie Borgnine who justifiably dominates the movie and your memories of it.
Many people remember the portly actor William Conrad for playing the role of detective Cannon in the popular 1970s CBS TV series. However, his long career extended back to playing Marshall Matt Dillon on the radio version of Gunsmoke. There is another often neglected side to his career: his long association with horror films. TCM's Movie Morlock web site examines these films. Click here to read
The new romantic comedy ("romcom" for you hipsters) Excuse Me for Living represents the first feature film by Ric Klass, at least in terms of getting any meaningful distribution. (His prior excursion into filmmaking was the little-seen Elliott Fauman, PhD. back in 1990.) The indie movie goes into theatrical release in select theaters nationwide this week. The film traces the tangled relationships between young New Yorkers, with the emphasis focusing on Dan (Tom Pelphrey), a privileged Gen X'er who nonetheless suffers from severe depression and a penchant for self-destructive behavior. When the film opens, we find him about to leap to his death from a bridge. Saved by a cop, he is "sentenced" to a rehab clinic run by a strict, but compassionate psychiatrist (Robert Vaughn), who attempts to form a personal bond with the troubled young man. Dan agrees to join a therapy group comprised entirely of elderly men, each of whom reveals their own personal demons. Dan is accepted by the group, but his rebellious nature gets the better of him. Before long, he's being lured back to his old ways. He sneaks out to attend wild parties at the home of a snobby friend and even starts an affair with his own psychiatrist's daughter. The episodic nature of the film provides both strengths and weaknesses. On the plus side, we're introduced to some interesting characters, well played by a talented cast of largely unknown actors and actresses. Pelphrey is especially good in the lead role, but he gets able assistance from Melissa Archer and Ewa Da Cruz as the femme fatales who wreak havoc on his his troubled mind by offering a continuous string of sexual temptations. On the other hand, Klass, who also wrote the screenplay, introduces so many characters and relationships that the viewer sometimes can't follow who is doing what with whom. Klass doesn't strive for belly laughs, instead concentrates on amusing situations and poignant and often moving dramatic aspects to the storyline. Best of all, he brings together some terrific veteran actors, all seen in their largest big screen roles in years. Vaughn, in particular, makes the most of his considerable screen time, bringing grace and dignity to a complex role. It's great to see him in a lead role on the big screen again. Seinfeld almuni Jerry Stiller (playing a relatively subdued and realistic character) and Wayne Knight are also on hand, along with Christopher Lloyd, whose usual crazy guy shtick is quite amusing. There is also enough mildly kinky sex and scantily-clad women to appeal to guys who might otherwise think this is a chick flick. In fact, it's a smart, witty comedy that should have special appeal to young, urban audiences. The movie also has a rich look to the production design and is crisply photographed and impressively edited.
Excuse Me For Living makes for a fine directorial debut for Klass. Here's hoping he has a second act in the works.
Click here to visit the official web site for the film
1959-60, the distinguished Quebec actor Gilles Pelletier (who had earlier
appeared in Otto Preminger’s The 13th
Letter and in Alfred Hitchcock’s I
Confess) came to Ottawa to shoot 39 episodes of the R.C.M.P. television series, coproduced by Crawley Films, the
Canadian Broadcasting Corporation and the British Broadcasting Corporation.
producer F.R. “Budge” Crawley cast Pelletier as Corporal Jacques Gagnier, a
Mountie working at a detachment in rural northern Saskatchewan. Interiors were
shot on a brand-new soundstage near Ottawa at Old Chelsea, Quebec. Exteriors
were filmed in nearby Aylmer, Quebec, and in Outlook, Saskatchewan, which stood
in for the fictional western town of Shamattawa, the center of the action of
this contemporary adventure series.
a Québécois in the lead role was considered a gutsy move at the time, but
Crawley was ahead of the curve in acknowledging the “French fact” on Canadian television,
according to Pelletier. (Crawley went on to produce the Oscar-winning 1975 documentary
The Man Who Skied Down Everest.)
Co-starring in R.C.M.P. as Gagnier’s
sidekick Constable Bill Mitchell was Don Francks, later a series regular on La Femme Nikita and co-star in Todd
Haynes’ Bob Dylan “biography” I’m Not
all that talent on board, why did R.C.M.P.
only last one season? The show was well produced. Crawley partnered with
the CBC, the BBC, the Australian Broadcasting Corporation and figured it would
be a snap to break into international TV markets, especially in the United
States. R.C.M.P. was a
crisply-shot, realistic and sometimes extremely violent crime drama which stood
in stark contrast to the usual stagebound and fusty Canadian television
programming of the time. Influenced by the
European neorealist school of filmmaking, the show
had the look and feel of a documentary, very convincingly conveying the dismal
Canadian ambience (especially in wintertime) and the homegrown criminal element
of small-town Canada. R.C.M.P. more
than held its own against similar U.S. TV fare.
to Pelletier, what was overlooked was the fact that the American TV networks,
distributors and producers operated like a closed circuit. They weren’t interested
in buying a foreign TV series unless they had a hand in its production from the
word “go”, and Crawley wouldn’t allow that. He said if they had that kind of
control, R.C.M.P. would lose its
distinctively Canadian cachet and be like any other American-style series.
Sean Connery in Zardoz: looking like a pitch man for adult incontinence products!
The pop culture web site Detour has a brief homage to director John Boorman's ill-fated 1973 sci-fi epic Zardoz (referred to by many as Zardoze) The bizarre futuristic tale involved immortality, slavery, sex-obsessed women and The Wizard of Oz. It's the kind of movie that should alarm you if it starts making sense to you. Nevertheless, we have affection for the film and are among those who consider "Boorman's Folly" to be an intriguing, thought-provoking gem. Where else can you see Sean Connery (who replaced Burt Reynolds in the leading role) strutting his stuff in what looks like a red Depends diaper, while Charlotte Rampling runs amok starkers. For more click here
Click here to order Zardoz from the Cinema Retro Amazon Movie Store- only $9.98!
Vincent Price (see here in the 1964 adaptation of The Tomb of Ligeia) collaborated with producer Roger Corman on several successful cinematic translations of Poe's work.
John Cusack's new movie -a fictionalized look at the life of Edgar Allan Poe that presents the famed writer chasing a serial killer- has brought about renewed interest in seeing how the master of the macabre's stories have translated on to cinema screens over the decades (for better or worse). Click here to read New York Times analysis.
With The Iron Lady opening in the UK, Daily Mail writer Chris Tookey acknowledges Meryl Streep's acclaimed performance as Margaret Thatcher. However, he says the film suffers from a simplified look at her actual career and accomplishments. Tookey says her most notable achievements are given brief mention while speculative or rather inconsequential aspects of her life are given prominence in the script. Tookey seems to be writing from a distinctly Tory point of view ("She
deserves to be studied because she was right about so many things, and
carried out her public duties despite hysterical abuse from most of the
political and media establishment"), so your own political leanings may influence whether you agree or disagree with his assessment. Click here to read
RETRO-ACTIVE: THE BEST FROM CINEMA RETRO'S ARCHIVES
(This article originally ran in October 2008)
In the wake
of Paul Newman’s death I’ve been watching a few of his movies over again, and
in some cases, watching some of his films for the first time.
avowed admirer of 60s and 70s films, and thrillers especially, I was surprised
that I had never seen The Mackintosh Man
(1973) before. I was very familiar with it in the context of Newman’s canon,
and films in general, and I remember it opening, but for some reason it had
passed me by until today.
be told, there’s good reasons for that. It’s not a bad film per se, but you can
see why its not part of the common cultural currency of 70s movies.
involves a British Intelligence spy working deep undercover and known only to
his chief – Mr Mackintosh – hence being a Mackintosh man - and attempting to
bring to book a corrupt MP. The means by
which he does this (faking a diamond robbery in order to go to jail, so as
to attract the attention of a mysterious firm who can spring him and a high
level prisoner with links to the said MP) are contrived the point of hilarity.
pedigree is good, great even. Directed by John Huston, with a script co-written
by Walter Hill from a novel by Desmond Bagely one could reasonably expect a
memorable and exciting yarn. With a supporting cast to die for including James
Mason, Harry Andrews, Ian Bannen, Nigel Patrick, Peter Vaughan and Michael
Horden, its always interesting , but only from a social and culturally historic
perspective. If you ever wanted to see Paul Newman wander round early 70s London,
hopping on tube trains and round Leather Lane market (with actual market goers
trying very hard and failing to stop and gawk at the Hollywood royalty walking
amongst them), or even slopping out in Liverpool with John Bindon from Get Carter, then this is the film for
you. What 1973 audiences would have made of it is anyone’s guess. The
convoluted plot and intentionally slow pace would have left the most hardened
thriller fan napping. There are practically no markers that this is directed by
the same man that gave us The Maltese
Falcon, The Asphalt Jungle and Chinatown; its so pedestrian as to
resemble an episode of The Saint,
which apparently, according to IMDB, this film is almost a carbon-copy ofone such episode.
The Mackintosh Man is the dictionary definition of a film which
survives on star power alone. On paper this could quite easily have been filler
on the bottom half of a double bill, and had starred someone like Ian McShane
or Bradford Dillman without changing anything in the script. As it is, Newman
brings effortless professionalism to the proceedings, and even manages to
adapt, chameleon-like to his drab and everyday surroundings, a little like Sean
Connery in The Offence.
never seen it, the tone in the first half of the film veers between Frenzy, The Ipcress File and Porridge.
But after the jailbreak the tone shifts into almost Bondian territory, or at
the very least an episode of The Avengers
with the introduction of Jenny Runacre’s Gerda, a kind of taller version of
OHMSS’s Irma Bunt with her mute henchman (I kid ye not)Taafe played by Percy
Herbert. This scenario is almost played for laughs and culminates with perhaps
cinema's only onscreen kick in the female crotch by a male character.
Sanda glides through the film with a single blank expression her face from
start to finish, which doesn’t help in a scene where James mason spikes her
drink. It took quite few moments to spot that she was trying to act like someone
who’ s lost most of her higher motor functions.
any enjoyment one can derive from this film is in watching a mid-career Newman
in a film featuring authentic locations with a sterling, if underused cast.
It’s a sombre film in tone, with only a few flashes of action, notably a very
realistic motor chase along bleak Irish roads, and a foot chase across moors
which resembles Newman’s flight from the prison guards and dogs in Cool Hand Luke. The film reeks of
“contractural obligation”, but at the end of the day I’m glad I’ve finally seen
it, and will probably revisit again. Maybe.
moment its only available as part of a Warner Region 1 Newman Box set, but its
worth getting as it includes Harper, The Drowning Pool, Pocket Money, The Young
Philadelphians and The Left-Handed
Gun, all under-appreciated films. - Steve Saragossi
CLICK HERE TO ORDER THE PAUL NEWMAN COLLECTION BOXED DVD SET
Hughes makes the case that the restored version of Sergio Leone's classic The Good, the Bad and the Ugly is inferior to the original theatrical release.
Cinema Retro columnist and film book author Howard Hughes vents on his blog about misconstrued extended cuts of films that failed to improve on the originals. Among those in his sites: Star Wars and The Good, the Bad and the Ugly. Click here to read
Cinema Retro is proud to present a major article by author and film historian Collin Stutz
“Contrast, Counterpoint, and Patience:The Vanishing Penultimate Moment in Film” by
In Daniel Raim’s Academy-Award nominated 2001
documentary The Man On Lincoln’s Nose,
the film’s subject, legendary film production designer Robert F. Boyle (North By Northwest, The Birds, The Thomas
Crown Affair - 1968, Fiddler On The Roof), profoundly states, “One of the
problems with a lot of films now is that we’re dealing with climaxes rather
than the penultimate moments which are more interesting.”Boyle defines the penultimate moment as the
moment before something actually happens.It is the scene before the climax (Scene 12).In the DVD audio commentary to their 2004
Pixar film The Incredibles, director
Brad Bird and producer John Walker discuss how “movies don’t have people
sneaking around anymore.I want some
sneaking around in my movie!People are
in such a rush to get the action sequences going fast that they forget there’s
pleasure to be had in the sneaking around part, taking a look at where you
are.So I have a few sneaking around
sequences in here, and I don’t think they’re a waste of time” (Scene 9).Whether one artist refers to it as “the
penultimate moment” or another calls it “sneaking around” is irrelevant; they
are both discussing the same thing.The
penultimate moment can be one of the most rewarding experiences for a cinema
audience, and there are three elements – contrast, counterpoint, and time
investment – that go into its creation.Unfortunately, the penultimate moment and its components are becoming a
lost art in today’s world of instant gratification.
Boyle uses Michelangelo’s Renaissance sculpture
masterpiece David as an example to
further illustrate his belief in the penultimate moment.He states that the sculpture of the Biblical
hero is “a young man standing, thinking.He’s got the sling over his shoulder and he has a frown on his face and
he’s obviously concerned.He’s concerned
about the coming conflict.The stone
that hits Goliath is momentarily interesting but only for that second.What went on before David meets
Goliath…that’s what’s interesting”(The Man OnLincoln’s Nose, Scene 12).
As the five minute, thirty second sequence where Mr.
Incredible sneaks around the island trying to discover Syndrome’s evil plan
plays, director Bird, in his Incredibles
audio commentary, goes on to say, “The filmmakers I most admire recognize the
value of “teasing” moments and “milking” moments.You think about a good storyteller or someone
who tells good stories in a bar.They
don’t blast through a story.They stop
and they savor certain moments.And they
know which moments they can milk.And
all of my favorite filmmakers have the confidence to slow down.Versus, I won’t name names, but a lot of
successful hacks, who, by having rapid-fire editing all the way through, never
have to deal with the issue of “Is anybody paying attention?” because they keep
throwing stuff at you.To me, there’s an
edge of desperation about that.The kind
of filmmaking I most admire takes a moment to savor things, because there are
so many things a movie can offer, particularly when you have a really talented
crew that works on getting sets to look great and is putting things up
there.You want a moment to take them
in.Like a good comic pauses, I think a
good filmmaker slows down”(Scene 15).Incidentally, five minutes of that Incredibles sequence is nothing but
sneaking around.The final thirty
seconds is the action climax where Mr. Incredible is attacked by goo balls and
captured.John Fawell, author of Rear Window:The Well-Made Film, elaborates on Bird’s thoughts in his DVD
commentary of the film, “People sometimes ask, ‘Why do we make such a deal of
these old films?’ Part of it is the professionalism on the smallest level.Even your most unimportant moment should have
a nice composition to it”(Scene 12).
"I was born in Harlem... I weighed a pound and a quarter and the doctor said
'If he survives, he'll be a genius,' but, he said, 'Don't count on
it'." Thus begins Irwin Hasen's narration of his life in "Irwin
- A New York Story" by painter, and first-time filmmaker Dan Makara. The
short film was presented at the famous Players club in Manhattan on November
30, 2011. In it Mr. Hasen speaks candidly and openly about his career, work and
especially his personal life. The documentary short takes you back and forth
through Hasen's miserable childhood, first "paying" job, schooling, being
in on the ground floor of the burgeoning comic book industry, army stint and
most importantly the creation for which he's most famous, "Dondi", the newspaper comic strip he drew for over 30
years. Hasen, at age 92, is also one of the few surviving comic book artists of the Golden Age period, having worked on Superman, Green Lantern and many other classic titles. Many of his friends, also legends in comic industry also appear in the
film to reminisce. Coming in at almost 55 minutes, "Irwin" is a bit
long for a short; not unlike the man himself. At times funny (Mr. Hasen is
often self-deprecating), moving, nostalgic and cartoonish (as it should be),
"Irwin - A New York Story" is a colorful and honest look at a true
New York and comic book art legend. He also tells you how to make a great
RETRO-ACTIVE: THE BEST FROM CINEMA RETRO'S ARCHIVES
Donald Hamilton’s Serious Spy Becomes a Bond Parody By Matthew
When JFK revealed his fondness for the James Bond books by Ian Fleming, and 007—ably embodied by Sean Connery—struck box-office gold with Dr. No (1962) and its sequels, the resultant “Bondmania” set off a spy craze manifested in everything from atmospheric adaptations of Len Deighton and John le Carré to tongue-in-cheek secret agents on screens small and large. Perhaps the most successful of the latter was Matt Helm, a singing and swinging spy played in four films for Columbia Pictures by Rat Pack member Dean Martin, who unlike Connery shared in the profits from the outset via his own company, Meadway-Claude Productions. The former partner of Bond producer Albert R. “Cubby” Broccoli - Irving Allen - was playing catch-up after deeming Fleming’s work unworthy of filming, which speeded his breakup with Broccoli. But ironically, his quartet of quintessential spy spoofs was actually based on a series of gritty Gold Medal paperback originals by Donald Hamilton that had been launched by Fawcett before Kennedy was even in office, or Connery started shaking his martinis.
STELLA STEVENS IN SEXY PUBLICITY POSE FOR "THE SILENCERS"
I very rarely rave about new films. Some
puzzle me, others annoy me and many are plain incoherent when it comes to
dialogue vs special effects soundtracks. But more than anything, jerky camera
work does nothing to excite nor, in my opinion, does it "add"
anything to a movie.
How refreshing therefore it is for a misery
guts like me to see a film that bowls me over and one which flies in the face
of expected convention.
I first saw THE ARTIST in Cannes back in
May - at I think its fourth screening, as the other three were totally
over-subscribed. It is a black and white, silent movie shot in a 4:3 ratio.
Yes, that's correct: not widescreen, not 3D, not cluttered with sound effects
and not in colour. Furthermore its star is a Frenchman - Jean Dujardin. His
name might not mean much, but he is already one of France's highest paid actors
and is set for huge glory in Hollywood.
THE ARTIST is a beautifully crafted film,
exquisitely shot and brilliantly cast. It centres on silent movie star George
Valentin (Dujardin) and his fall from favour when 'talkies' come in.
Valentin is a hugely charismatic, charming
and likeable character. With his four legged Jack Russell, Uggy (who almost
steals the film), he stars in a vast number of silent movies from action-adventures
to romance and spy thrillers. However, his aversion to talking on film results
in a sudden fall from stardom, and coupled with the 1931 stock market crash, he
finds himself loveless, penniless and homeless.
A young extra, Peppy Miller (Berenice
Bejo), who was given a leg up in the industry by Valentinmeanwhile captures the hearts of audiences,
and soon becomes the doyen of the talkies. As Valentin's star fades, Peppy's
The sizzling chemistry between the two
characters leads Peppy to help her now suicidal friend and bring him back to
movies. "No one wants to pay to hear my speak" argues Valentin, in
one of the frequent subtitle cards. Instead they choreograph an amazing dance
routine, which reignites Valentin's star.
With guest turns from John Goodman,
Penelope Ann Miller, James Cromwell and Malcolm McDowell it is a film which
will capture your heart, and demonstrates that just because something is in
B&W and silent, it doesn't mean the power of storytelling is null and void
in this multiplex world.
(Gareth Owen writes the Pinewood Past column, covering the history of Pinewood Studios, in every issue of Cinema Retro)
With Halloween fast approaching I thought I
might recommend some films that seem to have found themselves, bar one or two,
languishing in DVD dungeons like forgotten prisoners.
There are many recognized classics of the
genre from The Omen and The Exorcist to The Haunting, as well as the Universal
classics such as Frankenstein, Dracula and The Mummy but some of what I humbly
call classics seldom, if ever, get a chance to shine. To try and set this
straight before the witching hour strikes, I like to recommend a few films, 13
to be precise, that you may have missed or could perhaps re visit during this
spookiest time of year.
13) Night Of The Eagle:
This superb British Witchcraft tale (known
under the more lurid title Burn Witch Burn in the U.S.) is a minor monsterpiece.
Starring Jason King himself Peter Wyngard it shows the consequences of marrying a witch in a way
that Darren and Samantha never had to deal with on Bewitched. Taking its subject matter very seriously, this
is a superbly acted little film with a, quite literally, killer climax. A Stone
Cold Classic you could say.
12) Night Of The Demon.
This genre classic would make a superb
“Night” time double bill with its predecessor in this list. Based on the short
story Casting Of The Runes by M.R. James (and known as Curse Of The Demon In
The States) this is a terrifying film whose dark atmosphere is backed up by superb
and believable performances and a classic storyline. Dana Andrews was never
better but the star of the show is Niall MacGinnis as Dr. Julian Karswell who
can switch from children’s entertainer to demon conjurer quicker than the extinguishing
of a flickering candle flame. The chase through the forest by the unseen demon
is a masterpiece of subtly which is disregarded in the climax for the full on
view of the film’s title creature. Many say this spoils the Val Lewtonesque
feel of the film but I rather like it.
11) The Devil Rides Out:
Quite simply one of the best Hammer films
ever made, with Christopher Lee acting against type, very successfully, as the
hero rather than the monster. Based on the novel by Dennis Wheatly and brought
to the screen by the superb Richard Matheson, this is Hammer firing on all four
cylinders and has some of the most memorable set pieces of the studio’s superb
output. Future Blofeld Charles Gray is excellent as Macata. One of Terence
Fishers best, a director who was to Hammer what Terence Young was to the Bond
10) The Wicker Man:
One of the key films to watch over the
period is Robin Hardy’s cult classic about a cult. Is it a musical? Is it a
horror film? Is it really a classic? Well it’s a simple yes to all of them.
When I talked to producer Michael Deeley
about this he still seemed a bit bemused about this film’s well documented past
and pointed out that the only way it could be released at the time was for it
to be trimmed and released as a double bill. Many films have had that happen over the years
(Ray Harryhausen’s Valley Of Gwangi coupled with Marianne Faithfull in Girl on
a Motorcycle (a.k.a Naked Under Leather ) but few films who’s trims ended up as
motorway landfill have such a following. The ending is still up there with that
of Planet of the Apes for those who have yet to see it. Unlike The Sixth Sense,
I had no idea of the “twist” until the shocking climax. It remains a unique
cinematic experience. The soundtrack by Paul Giovanni is as unforgettable as
the naked dance of Britt Ekland’s character Willow in the film.
Click here to view New York Times critic A.O. Scott's video tribute to Elia Kazan's 1957 classic A Face in the Crowd, in which Andy Griffith ignites the screen with one of the most dynamic performances of the decade. The film is a cautionary tale about how fame can corrupt and destroy and features superb supporting performances by Patricia Neal and Walter Matthau.
Peckinpah discusses a scene with star Dustin Hoffman.
With the pending release of the Americanized remake of Sam Peckinpah's 1971 classic Straw Dogs, writer Terrence Rafferty of the New York Times looks back at the original film and reopens the reasons why it still remains one of the most controversial movies of all time. Click here to read
Clint Eastwood's 1975 thriller The Eiger Sanction was generally dissed by critics in its day. However, as writer Jason Ivey points out, in today's climate of dumbed-down action movies, it seems like a work of art, specifically for the incredible mountain climbing sequences which Eastwood did himself, while directing! Click here to read and to view the original trailer.
Click here to order the DVD discounted from Amazon
Woody Allen's charming and intelligent comedy Midnight in Paris ranks among his best work in many years. I found the film to be an intoxicating blend of humor and sentimental homages to a lost era and the titanic talents that inhabited it. Writer Rob Kirkpatrick seems to have caught the spirit of the film and writers extensively about its merits.
Don't count New York Times film critic A.O.Scott among those who may be toasting the just-released remake of Arthur. Scott is so singularly depressed by the Russell Brand remake about a lovable alcoholic that he says it's driving him to drink. Click here to read.
In his review in the CNN, critic Tom Charity rightly calls out Hollywood for shamefully ignoring the Western film genre. He says the situation has at least momentarily been corrected with the release of True Grit. While Charity sells short the immense qualities of Henry Hathaway's original version of the film, he does say that the remake returns the genre to its former glory and ranks the film among the best of the year. Click here to read
Beneath the Dark is an ambitious new chiller that has been relegated to "premiering" on the Independent Film Channel this month. The movie falls short of its ambitions but still has enough strong points to have merited a theatrical release. Jamie-Lynn Sigler and Josh Stewart are an attractive couple driving across the Mojave Desert at night, en route to a wedding in California. A near fatal crash convinces them they should stay overnight at the first motel they come across. It will surprise no one to learn that the chosen place is run by a creepy eccentric and is virtually bereft of any other occupants. (Honestly, night clerks of motels across America should unionize to demand a better image on-screen.) The two hunker down in bed but Stewart begins acting strangely (how else can you describe behavior that finds him disinterested in sexual favors offered by Sigler?). The two begin to bicker and Stewart storms out to the deserted cafe, where he encounters a strange, almost mystical man (Afemo Omilami) who seems to inexplicably know a great deal about humiliating aspects of Stewart's past. This is coupled with him seeing strange messages and apparitions that are invisible to Sigler. The story is entertwined with the troubled life of the night clerk (Chris Browning), who is a perpetual loser, constantly humilated by his wife (Angela Featherstone) who has had to turn to stripping and bedding strangers in order to pay the rent.
Hollywood Reporter critic Todd McCarthy's take on the Coen Brothers' new version of True Grit is that it's impressively cast and enacted but lacks the humor of the source novel and John Wayne screen version. Click here to read
In his review of Tron:Legacy, Disney's sequel to its 1982 sci-fi film that introduced the CGI era, Variety critic Todd McCarthy says the movie is better than the lame original- hardly the type of praise the studio would put into ads. To read click here
New York Times film critic A.O. Scott is not an easy man to impress, but he's given an unqualified rave to Clint Eastwood's Hereafter, saying the veteran filmmaker continues to explore new territory in exciting ways- in this case, the realm of the supernatural. Click here to read
As I've often said, there are some excellent films being made nowadays - but most of them don't involve invading aliens, serial murderers or tortured teenagers. The independent film market is booming and there are some real gems currently in release- though you may have to have the skills of Sherlock Holmes to track them down. One such film is Cairo Time, a charming and intriguing love story that finds Patricia Clarkson as Juliette Grant, the middle-aged wife of a United Nations diplomat who flies to Cairo to meet him for what should be an enjoyable business conference at a swank hotel. When she gets there, she learns he has been indefinitely delayed due to a crisis in Gaza. He asks his old friend and colleague Tareq (Alexander Siddig) to show her the local sites and try to entertain her. Initially, Juliet feels awkward and attempts to go it alone - only to find herself the unwanted center of advances from the male locals. Over the course of several days, she and Tareq form a bond that is becoming uncomfortably close to crossing the line into romance.
In a harsh review, New York Times film critic Joe Nocera takes on director Oliver Stone for bunting when he could have swung for a home run with Wall Street: Money Never Sleeps. Nocera says the mercurial director missed an opporunity to take on the financial crisis head-on and instead concentrated on personal dramas with the crisis only serving as a backdrop. Stone says he had to compromise or else alienate his audience by making the film too tecnhical for mass audiences. Click here to read
The web site Bachelor's Degree Blog has a good article detailing their choices for 15 of the best "Coming-of-Age" movies. In addition to insightful analysis, they provide clips from the films to bolster their arguments. Click here to read
Sylvester Stallone's reunion of 80s action stars in The Expendables has failed to impress USA Today critic Claudia Puig, though maybe a female writer isn't the intended audience Stallone had in mind. Puig gives the film the kind of unreservedly awful review that you seldom come across, calling it "... truly a movie that nobody needs — gratuitously savage, implausible and sometimes incoherent." Click here to read
Director Richard Lester's post-apocalyptic satire The Bed Sitting Room enlisted the talents of many notable British actors including Dudley Moore, Peter Cook, Ralph Richardson, Spike Milligan, and others. The film was released in 1969 and generally won respectable reviews, but died at the box-office, helping to end Lester's reputation as a new generation director who had his finger on the pulse of what young audiences wanted to see. The film has never been released on home video in the USA but last year Turner Classic Movies presented a rare showing. With great expectations, I began to watch ...but could not get past the first half hour. It was truly one of the worst movies I have ever seen, and - mind you- I'm a man who has found kind things to say about Ishtar and Heaven's Gate. Because I could not endure the entire film, I'm unqualified to make a complete judgment about it. I suppose it's possible that the movie became enchanting exactly at the point at which I turned it off - or it could be that the praise the movie has gained over the decades could be a cinematic case of The Emperor's New Clothes. Perhaps some people want to say they see subtle, hip qualities the average viewer doesn't perceive - even though the movie may just be an unintelligible mess. Writer Mike Watt, who runs the entertaining Movie Outlaw web blog, has a different take and defends the film's qualities. In the interest of being fair and balanced, click here to read his views.Click here to view trailer
Kung Phooey: The New York Times blasts The Last Airbender
By Lee Pfeiffer
Remember when a new film by director M. Night Shyamalan was perceived as an actual event? Films like The Sixth Sense, Signs and The Village gave his movies the aura of something special - and audiences anticipated being brought in unpredictable directions by the compelling storylines. Nowadays, Shyamalan is content to take the Nicholas Cage career path and trash his talents in return for a sizable paycheck. Shyamalan is now down to adapting cartoon series to the big screen with The Last Airbender, an effects-filled extravaganza designed to appeal to audiences who are glued to the fare on Saturday morning kid's TV stations. The New York Times critic A.O. Scott blasts the film in his review, saying "It’s all pretty silly, and handled with unrelenting solemnity. But
that in itself is neither unusual nor fatal. The problem — the
catastrophe — of “The Last Airbender” is not in the conception but the
execution. The long-winded explanations and clumsy performances are made
worse by graceless effects and a last-minute 3-D conversion that wrecks
whatever visual grace or beauty might have been there. The movie is so dim and fuzzy that you might mistake your
disposable 3-D glasses for someone else’s prescription shades. And Mr.
Shyamalan’s fondness for shallow-focus techniques, with a figure in the
foreground presented with sharp clarity against a blurred background, is
completely out of place in the deep-focus world of modern 3-D. The
format also has no place for one of this director’s major gifts, which
is his ability to use the implications of what is off camera to create a
mood of intrigue and suspense." For full review click here
Studios should stay away from certain titles. Back in 1946 Cary Grant starred in a widely-disdained, watered down version of Cole Porter's life titled Night and Day. Half a century later, with only the slightest variation, Tom Cruise and Cameron Diaz star in the action flick Knight and Day. It's obviously geared for audiences dumb enough to consider The A-Team too Bergmanesque - and New York Times critic A.O. Scott lets loose, blasting the film as a brainless, incoherent excuse to waste money on CGI effects. To read click here
RETRO-ACTIVE: THE BEST FROM CINEMA RETRO'S ARCHIVES.
(The following piece was the first film review posted on Cinema Retro on February 25, 2007)
"Bus Riley" and William Inge: or When Playwrights Are
By Joel Shatzky
Bus Riley's Back in Town is a
1965 Universal production that is vaguely based on a play written by William Inge (1913-1973) in the
early1950's bearing the same title. Because of the rewriting of the script and plot by the studio so
that the story could be more of a vehicle for Ann-Margaret, Inge removed his name from the credits and
not even the fact that the title was from an Inge play was mentioned. It is one of the few times, I
believe, that a prominent playwright
had his credits removed from a script that was based on his own
play. Even Tennessee Williams, who had every good reason to remove his name from the credits of A
Streetcar Named Desire due to the distorted ending, abstained from such a temptation.
Writer Patricia Zohn takes a fascinating look at Otto Preminger's little-discussed, but interesting film Bonjour Tristesse, based on a best-seller by 18 year old author Francoise Sagan, who reflected on personal aspects of her life with this tale of a teenage girl (Jean Seberg) forced to compete with many women for the attention of her charismatic father (David Niven). Click here to read
Kimberly Lindbergs gives a valuable and insightful analysis into the 1970s Western Hannie Caulder in which Raquel Welch plays a woman who becomes a gunslinger in order to track down the men who raped her and killed her husband. The great supporting cast includes Robert Culp, Ernest Borgnine, Jack Elam, Strother Martin and Christopher Lee. Click here to read on TCM's Movie Morlock's web site. The film is available on DVD in the UK, but not North America. Click here to order from Amazon UK
Cinematical columnist Jeffrey M. Anderson pays tribute to the 1945 "B" movie Detour, which was made for $30,000 and went on to be one of the most acclaimed low budget films ever made. Click here to find out why
RETRO ACTIVE: THE BEST FROM CINEMA RETRO'S ARCHIVE
P.B. HURST, AUTHOR OF THE NEW BOOK THE MOST SAVAGE FILM: SOLDIER BLUE, CINEMATIC VIOLENCE AND THE HORRORS OF WAR (McFarland) LOOKS BACK AT WHAT IS PERHAPS THE MOST CONTROVERSIAL WESTERN OF ALL TIME.
number of critics in 1970 believed that Soldier Blue had set a new mark
in cinematic violence, as a result of its graphic scenes of Cheyenne women and
children being slaughtered, and had thus lived up – or down – to its U.S.
poster boast that it was “The Most Savage Film in History.”
hit in Great Britain and
much of the rest of the world, Soldier Blue was, in the words of its
maverick director, Ralph Nelson, “not a popular success” in the United States.This probably had less to do with the
picture’s groundbreaking violence, and more to do with the fact that it was the
U.S. Cavalry who were breaking new ground.For Nelson’s portrayal of the boys in blue as blood crazed
maniacs, who blow children’s brains out and behead women, shattered for ever
one of America’s most enduring movie myths – that of the cavalry as good guys
riding to the rescue – and rendered Soldier Blue one of the most radical
films in the history of American cinema.The film’s failure in its homeland might also have had something to do
with the perception in some quarters – prompted by production company publicity
material – that it was a deliberate Vietnam allegory.
unaware of most of this in 1971 when, as a nervous fifteen-year-old English
schoolboy, I read about the film’s horrors in newspapers, and heard lurid
accounts of the cutting off of breasts from my classmates, who had illegally
seen the film at a cinema that wasn’t too bothered about the age of the patrons
(all of whom should have been at least eighteen to view what was then an X
managed to survive several Hammer horrors – Scars of Dracula, Lust
for a Vampire and Countess Dracula spring readily to mind – at the
very same cinema when I was underage.But
having been scared witless by the mutilation scene in Hush, Hush Sweet
Charlotte, when that gripping movie had played on TV several months
earlier, I wisely realised that any of the various cuts inflicted on the
Indians by the cavalry in Soldier Blue represented a mutilation too far
in terms of my well being.So I waited
for the picture to turn up on television (as it takes considerably more guts to
walk out of a packed cinema than to hide behind the sofa!).Waited and waited as it turned out.
viewed the picture, which stars Candice Bergen, Peter Strauss and Donald Pleasence, when ITV
transmitted it in 1980.However, there
was a small problem: the notorious massacre sequence, which is the picture’s
reason for being, had been removed virtually in its entirety (seemingly more
cuts had been inflicted on the film than had been perpetrated on the American
Indians!), as it was deemed too horrific for television.(It took another twenty-two years for the
film to be shown on British terrestrial television in something resembling its
theatrical release form!)So I still
hadn’t viewed the notorious scenes that had sparked, in conjunction with films
such as The Devils, Straw Dogs and A Clockwork Orange, the
screen violence inferno that engulfed Britain in the 1970s.
Long coats, loud ties and big fedoras: refreshing sights for retro movie lovers.
By Lee Pfeiffer
The bad buzz regarding Martin Scorsese's Shutter Island began even before the film was released. Paramount postponed the premiere from the height of Oscar season to the dog days of February, ostensibly for marketing purposes. In reality, most critics felt it signaled that the movie was not worthy of coughing up the cost of an Oscar campaign. Now the film has opened, and studio executives look vindicated: the movie is on track to being Scorsese's biggest hit. Reviewers weren't as kind. There were raves from the likes of Roger Ebert, but the New York Times called the movie "terrible". The consensus from most critics is that, while it isn't without value, in the end, it is a pretentious movie that falls short of its goals.I find the film to be atmospheric, rather than pretentious. At its heart, it's a movie about production design and Dante Ferretti, who is a long-time collaborator of Scorsese's, comes through with some triumphant set pieces. Some critics have attacked Scorsese for using a sledgehammer to remind audiences the film takes place in 1954, but I found the costumes and habits of the characters to be refreshing. It's hard to find movies where you can relish actors wearing long coats, fedoras, loud Hawaiian ties and proudly engaging in the politically incorrect habit of puffing away on cigarettes and cigars.
It's rare to see the word "terrible" linked to the work of Martin Scorsese, but New York Times film critic A.O. Scott does just that in his pan of the master director's new thriller Shutter Island. Scott claims the film is a jumbled mess of red herrings, pretentious special effects and plot distractions that wear viewers down and ultimately bores them. Click here to read
Given the long, troubled history of Universal's attempt to bring The Wolfman back to the screen as a big-budget remake, you may wonder how they were going to pull it off. According to Variety critic Todd McCarthy, the answer is simple: they didn't. McCarthy rips the production for lacking suspense and condemns director Joe Johnston for using quick cut-aways in the action sequences that not only become a boring technique, but gives the film a cheap look. To read the entire review click here (You may have to register with the Variety site)
Given the fact that the new medical drama Extraordinary Measures has received decidedly ordinary reviews, I wasn't particularly enthralled about seeing it. However, big screen appearances by Harrison Ford (who was executive producer on the film) are as rare as hen's teeth nowadays, so I thought I'd give it a try. The movie is the first to be released by CBS Films, the theatrical side of the TV network. The company intends to make modesty-budgeted films for wide audiences. The jury is still out as to whether the venture will succeed (Extraordinary Measures opened softly at the boxoffice). However, from an artistic standpoint, the company deserves praise for concentrating on stream-lined films that appeal to the intelligence of the audience, instead of bloated blockbusters. More importantly, the film - which has received modest praise for being workmanlike - is actually a completely engrossing and moving story that is wonderfully enacted under the direction of newcomer Tom Vaughan.
Those who frequently complain that today's movie stars don't compare with the legends from Hollywood's golden age, frequently make note of a few exceptions. George Clooney is generally put into the shallow pool of actors who have larger-than-life screen presence. The problem has been that his output of films has been wildly erratic in terms of quality. With writer/director Jason Reitman's Up in the Air, however, Clooney has finally found a film that suits him perfectly - and he may end up with a Best Actor Oscar in the bargain. Clooney plays Ryan Bingham, an ace representative of a company that specializes in firing hapless employees of large corporations when their bosses can't summon the courage to do so personally. It's a premise that fits perfectly into a modern society in which ogres and cowards generally deliver devastating news to folks via voice mails and text messages. Bingham never dwells much on the emotional devastation he causes. He's not without sympathy, but the dream job he has affords him to engage his primary goal in life: to acquire as many air miles and hotel points in the shortest period of time to set a world record. His life is a shallow one. Despite earning mega-bucks for doing the bidding of his soulless boss (Jason Bateman), Clooney lives in self-imposed exile. He dwells in a dingy, sparsely-furnished apartment, has only transient relationships with other chronic travelers and disdains any form of emotional or romantic commitment. Bingham's perfect, but shallow, universe is suddenly threatened by a new employee, Natalie Keener (Anna Kendrick), who impresses the boss with her cost-cutting methods of removing even the modicum of human dignity that the company's representatives afford employees who are being fired. Natalie devises a video conference system where the soon-to-be-unemployed are given the bad news without any in-person, human contact. The cost-saving measure delights the boss but devastates Bingham, who finds his very existence threatened by the end of his quest to gain airline miles.
The New York Times is generally not very effusive in its praise of movies it likes. A look at reviews of films now regarded as classics shows that the Old Gray Lady's film critics almost always are cautious and reserved in doling out the compliments. What makes critic Manohla Dargis' review of James Cameron's Avatar so unique is his unbridled enthusiasm. Dargis virtually swoons over the mega-budgeted sci-fi epic. Click here to read
Variety critic Todd McCarthy gives a positive review of director Guy Ritchie's Sherlock Holmes with Robert Downey Jr. as a buff, hip master detective. The review says that the film is certainly geared toward pleasing young male viewers, but is clever and entertaining. The review also gives kudos to Hans Zimmer's atmospheric score. To read click here
I saw a UK preview of Clint Eastwood's new movie
Invictus last night, and I now have a new hero - Nelson Mandella. Of
course, this new found view point of the man totally relies on the the
suppostion that Mandella's actions during the eighteen-month period the
story is set in are factual, and not the creation of Hollywood scribes. However,
that aside, Eastwood has come up with another totally original film to add to
his resume that just seems to get better with every effort. Now I am not
particularly interested in politics, and know nothing about rugby, yet this 2-
hour movie had me on the edge of my seat come the final 18-20 minutes - as were
the rest of the audience. Who, but Eastwood, would approach a subject like this
- and deliver the goods? It proves once again he really is one
of the most intelligent directors in the world and at the top of
his game. Unlike Million Dollar Baby, Changeling and Gran
Torino, where the subject matter was dark, this is a "feel good" film that
broaches the appalling history of the country's race problems thoughtfully and,
at times, humourously. Although the cast are predominantly unknowns (and
excellent), the lead roles taken by Morgan Freeman and Matt Damon are faultless
- and Freeman is given some wonderful lines. Don't let the title or the
subject matter put you off seeing this thoroughly entertaining and moving film.
You'll come out of the cinema feeling much better for it.
Variety critic Todd McCarthy gives thumbs up for the Clint Eastwood film Invictus starring Morgan Freeman and Matt Damon. The review says the movie succeeds on all major levels and that Eastwood continues to surprise audiences with off-beat topics. The film will have it's Hollywood premiere on December 3 at A.M.P.A.S. Eastwood, Freeman and Damon will attend. To read click here