What classics did you see last week ? (17 Mar - 23 Mar 2019)
Mar 24, 2019 16:58:05 GMT
teleadm, wmcclain, and 2 more like this
Post by hitchcockthelegend on Mar 24, 2019 16:58:05 GMT
Beyond the Forest (1949) - www.imdb.com/title/tt0041172/reference
You don't like life!
Beyond the Forest is directed by King Vidor and written by Lenore J. Coffee and Stuart Engstrand. It stars Bette Davis, Joseph Cotton, David Brian, Ruth Roman, Minor Watson and Regis Toomey. Music is by Max Steiner and cinematography by Robert Burks.
Resentful of her small-town life, Rosa Moline (Davis), a married woman, schemes to run off with a rich businessman - and she will do anything to achieve her goals...
Whilst not being on the same divisive page as something like Johnny Guitar, King Vidor's picture treads the same pathway to claims of camp and feverish staging. Davis is clearly miscast and too old for the role, whilst she overacts accordingly to either delight her fans - or irritate film fans after a noirish pot boiler of some substance. It's a tough call, and you really have to point the finger at Vidor for not reining Davis in, but if in the zone for a bit of Bovary histrionics tinged with noir flavours this has much to offer.
The pros and cons of small town Americana are vividly brought to life here, as is the central focus of a woman out of her dreams. Metaphors are rife to run in conjunction with the psychological imbalance of Rosa's mind, be it the mill furnace that lights up the sky at frequent intervals, or the steam locomotive that thunders through the centre of town to take folk off to the big city of Chicago, the aural smarts are superbly inserted by Vidor.
Using flashback as a starting point, Vidor firmly enters a noir realm, which continues throughout as he is aided considerably by Burks' photography. One of Hitchcock's main cinematographers of choice, it's a real pity that Burks didn't get hired for more noir ventures in the 50s. His work here is superb, low lights and side lights come to the fore in the final third as the femme fatale axis of story reaches a potent finale. Thus as Steiner rumbles away with his shock and awe, the pic is a tech credit force.
Sadly there's some fault lines to be irked by. Roman is utterly wasted in a pointless role, there's a Native American house maid character (Donna Drake) that's the focus of some unsensitive era treatments that's sole purpose seems to be just to make Rosa out as more of a git than already established. While Toomey and Watson (the latter a key character) are badly under used.
However, whilst not jumping on the "it's a masterpiece" bandwagon, this is a film of many filmic pleasures - perversely so me thinks... 7/10
The First Great Train Robbery (1978) - www.imdb.com/title/tt0079240/reference
If you've turned nose on me I'll see you in Lavender.
The First Great Train Robbery is directed by Michael Crichton who also writes the screenplay. It stars Sean Connery, Donald Sutherland, Lesley-Anne Down, Wayne Sleep, Robert Lang, Alan Webb and Andre Morell. Music is scored by Jerry Goldsmith and cinematography by Geoffrey Unsworth. The story is loosely based on the real Great Gold Robbery of 1855, where a rogue criminal named William Pierce and his cohorts executed the theft of £12,000 in gold from a speeding train on route to aid the British Army during the Crimean War.
A delightful period caper picture that's high on production value and fun characterisations. Split into two halves, Crichton's movie makes light of the actual crime to portray Connery and co as lovable rogues, thus hooking the viewer in to actually root for them to pull off the intricate crime. First half (well it's more two thirds of the film to be exact) details how the robbers obtained the four keys needed to get into the safe. Harder than it sounds since they are in different locations to one and other and guarded over by different officials. Naturally there are scrapes, skirmishes and obstacles to overcome during this complex operation, and no short amount of humour and tension either. Then it's on to the actual crime, which buzzes ferociously with derring do and ingenious cheek! It may have been loaded with chitter chatter and much bluffing of the way leading up to it, but the pay off is excellent and not without genuine excitement as Connery's (doing his own stunt work) Pierce and Sutherland's safe cracking Agar pull off the seemingly impossible.
Benefiting the film greatly is Crichton's attention to detail, where he thrives on the Victorian England setting. From the streets, the costumes, the dialogue and mannerisms of the characters, they all fit nicely within the narrative. Helps, too, that the cast are playing it with tongue in cheek, Connery and Sutherland are revelling in playing roguish dandies, splendidly attired facially with quality face fuzz and Down raises the temperature of Connery and male audience members alike. Probably her best ever performance, Crichton writes a good role for Down that sees her not only as a sexy head turner (it's unlikely that Victorian underwear has ever looked this sexy before in film), but also as an observant member of the gang; one who isn't too shabby on the disguise front either. Dancer Wayne Sleep is nicely cast as a fleet footed housebreaker, while Lang, Webb, Morell and Michael Elphick pitch their respective performances just right. Goldsmith's score is energetic and Unsworth's (his last film as he sadly passed away shortly after shooting it) photography is a lesson in quality without trickery.
Fanciful and tame if compared to the big budgeted actioners of today, The First Great Train Robbery none the less is testament that simplicity of plot and a keenness to entertain is sometimes all you need. 8/10
Red Heat (1988) - www.imdb.com/title/tt0095963/reference
Look out Chicago, Arnie & Jimmy are loose on the streets.
Captain Ivan Danko (Arnold Schwarzenegger) is a no nonsense Soviet cop who is sent to Chicago to pick up a murdering Russian drug dealer. Upon arriving in the windy city, Danko is teamed with Art Ridzik (James Belushi), a wise-cracking street cop notorious for cutting corners to get the job done. Complete polar opposites, both men form an unlikely alliance as Danko's Soviet methods blend with Ridzik's free spirited street wise techniques.
There were quite a few buddy buddy films around in the 1980s, certainly the teaming of unlikely cop partners was nothing new at the time of Red Heat's release. Yet for all it's obvious reliance on clichés, and its out dated Russian/American guffaws, Red Heat is a romping, violent and funny picture. Pairing the big Austrian Oak Schwarzenegger with the Americana that is James Belushi pays off in bundles. Yes it's sometimes crass, but Belushi's cocky mannerisms play off Schwarzenegger's robotic frame with comedic joy. All played out in amongst carnage and murder created by director Walter Hill, who is quite frankly, and thankfully, just extending the formula that he started in 1982 with 48 Hrs.
The support cast is not to be sniffed at either. Peter Boyle, Ed O'Ross, Laurence Fishburne, Pruitt Taylor Vince, Brion James and Gina Gershon. All line up to add fuel to the Arnie and Jimmy fire. Also good to see is that Hill shot on location in Illinois and Moscow to give the film some scenic impetus, whilst James Horner's score is suitably bombastic and at one with the material. It's no rocket scientist who observes a film like this and calls it popcorn fodder, because it so obviously is. But within its buddy buddy framework lies a very quotable film that's essential for fans of Arnie & Jimmy. Sometimes that's all one needs from a film like this. 7/10
Alien³ (1992) - www.imdb.com/title/tt0103644/reference
Don't feck with The Baldies!
Special Edition.
I love it, I really do. OK! So it's basically a monster on the loose piece, but the setting at a sci-fi prison colony - complete with nutty religious shards - makes for a thrillingly atmospheric ride. Of course if this was merely a stand alone film, where there was no Alien and Aliens previously, I feel sure the special edition cut would be thought of differently.
A roll call of Brit thesps line up for some tension filled entertainment as director David Fincher and cinematographer Alex Thomson provide a look that is both beautiful and scary. The metallic nightmare of chambers and cold concrete fused together for some hellish stalk and paranoia. Industrial Punk? Steam Punk? Cyber Punk? Fincher Punk? Hey man, we gotta give it a name! And of course there's Siggy Weaver front and centre, the reassuring presence among the murderers, rapists and child molesters.
I could live without the attempt at a transcendent finale, but in extended form this has much to light your fires. It also showed that Fincher would be a director to watch - imagine if had he been left alone to craft his own vision? His subsequent career and standing makes a mockery of the studio execs involved in the making of Alien³. 8/10
Clear and Present Danger (1994) - www.imdb.com/title/tt0109444/reference
These drug cartels represent a clear and present danger to the national security of the United States.
The third outing for Tom Clancy's Jack Ryan - and the second with Harrison Ford in the lead - is a tightly constructed political thriller. Condensing Clancy's door stoppers is no easy task, but the makers here, headed by director Phillip Noyce, have manged to keep the pic brisk and intelligent for entertainment worth.
Plot essentially boils down to America's war on drugs and the Colombian cartel at the helm of such operations. Naturally all is a bit suspect in the American corridors of power, leading to corruption and abuse of power that puts Jack Ryan firmly at the front to sift and destroy the bad eggs staining the American Star Spangled Banner.
This very much plays out for those who like a bit of politico subterfuge, whist being ok with long passages of like minded chatter is also a requisite. That we have a fine cast playing out the screenplay (Donald E. Stewart, Steven Zaillian and John Milius) is a big plus that gives credibility to the shifty machinations.
There's a nagging annoyance throughout that this still should be a better film, especially given the overstretched run time of 2 hours 20 minutes, and the computer sections are dubious and the finale is something of a damp squib. However, we are in the company of great pros, both in front of and behind the camera - and also on the page (Clancy's brain superlative). With that in mind it's reasons to seek this out and enjoy if this splinter of political thriller is your bag. 7/10
Jurassic World: Fallen Kingdom (2018) - www.imdb.com/title/tt4881806/reference
Cover Version 2
It was 1993 when Jurassic Park was unleashed upon the film loving public, spawning a blockbuster franchise and pop culture thunders in the process. Sadly we now find ourselves suffering cover versions of what was once a great and thought provoking premise with high octane thrills into the bargain.
I guess once they started personalising the Velociraptors, making one of them a friend of man, it was the beginning of the end. But we accepted it - sort of - jumping into 2015's Jurassic World with carefree abandon. More dino carnage we wanted, a bright cast fronted by the ever likable Chris Pratt and Bryce Howard drew us in, but it was merely ok, a franchise entry that was just a quick fix but nothing more. But of course box office talks and the franchise lumbers on to Jurassic World: Fallen Kingdom...
Plot returns to Isla Nublar which along with all the dinosaur inhabitants is about to be vanished from the planet by the mother of all volcanoes. Cue mankind jostling over whether to save a species that was once extinct whilst others have nefarious motives for financial gain.
Off we go then, stock characters that are over familiar are performed by different actors but go through motions we have witnessed before, whilst the writing strains for a sort of human empathy factor that never hits the mark. There is nothing remotely fresh (well Howard has at least changed her footwear to something more credible) or exciting on offer here, it's a tired cash cow that's in dire need of extinction itself.
Naturally another instalment will come along, and naturally it will make money, with myself and the other millions of Jurassic zombies filing in to view what we hope will be a return to the heady days back in 1993. But it's most likely a forlorn hope, so maybe, just maybe, it should be enough now, enough? 5/10
You don't like life!
Beyond the Forest is directed by King Vidor and written by Lenore J. Coffee and Stuart Engstrand. It stars Bette Davis, Joseph Cotton, David Brian, Ruth Roman, Minor Watson and Regis Toomey. Music is by Max Steiner and cinematography by Robert Burks.
Resentful of her small-town life, Rosa Moline (Davis), a married woman, schemes to run off with a rich businessman - and she will do anything to achieve her goals...
Whilst not being on the same divisive page as something like Johnny Guitar, King Vidor's picture treads the same pathway to claims of camp and feverish staging. Davis is clearly miscast and too old for the role, whilst she overacts accordingly to either delight her fans - or irritate film fans after a noirish pot boiler of some substance. It's a tough call, and you really have to point the finger at Vidor for not reining Davis in, but if in the zone for a bit of Bovary histrionics tinged with noir flavours this has much to offer.
The pros and cons of small town Americana are vividly brought to life here, as is the central focus of a woman out of her dreams. Metaphors are rife to run in conjunction with the psychological imbalance of Rosa's mind, be it the mill furnace that lights up the sky at frequent intervals, or the steam locomotive that thunders through the centre of town to take folk off to the big city of Chicago, the aural smarts are superbly inserted by Vidor.
Using flashback as a starting point, Vidor firmly enters a noir realm, which continues throughout as he is aided considerably by Burks' photography. One of Hitchcock's main cinematographers of choice, it's a real pity that Burks didn't get hired for more noir ventures in the 50s. His work here is superb, low lights and side lights come to the fore in the final third as the femme fatale axis of story reaches a potent finale. Thus as Steiner rumbles away with his shock and awe, the pic is a tech credit force.
Sadly there's some fault lines to be irked by. Roman is utterly wasted in a pointless role, there's a Native American house maid character (Donna Drake) that's the focus of some unsensitive era treatments that's sole purpose seems to be just to make Rosa out as more of a git than already established. While Toomey and Watson (the latter a key character) are badly under used.
However, whilst not jumping on the "it's a masterpiece" bandwagon, this is a film of many filmic pleasures - perversely so me thinks... 7/10
The First Great Train Robbery (1978) - www.imdb.com/title/tt0079240/reference
If you've turned nose on me I'll see you in Lavender.
The First Great Train Robbery is directed by Michael Crichton who also writes the screenplay. It stars Sean Connery, Donald Sutherland, Lesley-Anne Down, Wayne Sleep, Robert Lang, Alan Webb and Andre Morell. Music is scored by Jerry Goldsmith and cinematography by Geoffrey Unsworth. The story is loosely based on the real Great Gold Robbery of 1855, where a rogue criminal named William Pierce and his cohorts executed the theft of £12,000 in gold from a speeding train on route to aid the British Army during the Crimean War.
A delightful period caper picture that's high on production value and fun characterisations. Split into two halves, Crichton's movie makes light of the actual crime to portray Connery and co as lovable rogues, thus hooking the viewer in to actually root for them to pull off the intricate crime. First half (well it's more two thirds of the film to be exact) details how the robbers obtained the four keys needed to get into the safe. Harder than it sounds since they are in different locations to one and other and guarded over by different officials. Naturally there are scrapes, skirmishes and obstacles to overcome during this complex operation, and no short amount of humour and tension either. Then it's on to the actual crime, which buzzes ferociously with derring do and ingenious cheek! It may have been loaded with chitter chatter and much bluffing of the way leading up to it, but the pay off is excellent and not without genuine excitement as Connery's (doing his own stunt work) Pierce and Sutherland's safe cracking Agar pull off the seemingly impossible.
Benefiting the film greatly is Crichton's attention to detail, where he thrives on the Victorian England setting. From the streets, the costumes, the dialogue and mannerisms of the characters, they all fit nicely within the narrative. Helps, too, that the cast are playing it with tongue in cheek, Connery and Sutherland are revelling in playing roguish dandies, splendidly attired facially with quality face fuzz and Down raises the temperature of Connery and male audience members alike. Probably her best ever performance, Crichton writes a good role for Down that sees her not only as a sexy head turner (it's unlikely that Victorian underwear has ever looked this sexy before in film), but also as an observant member of the gang; one who isn't too shabby on the disguise front either. Dancer Wayne Sleep is nicely cast as a fleet footed housebreaker, while Lang, Webb, Morell and Michael Elphick pitch their respective performances just right. Goldsmith's score is energetic and Unsworth's (his last film as he sadly passed away shortly after shooting it) photography is a lesson in quality without trickery.
Fanciful and tame if compared to the big budgeted actioners of today, The First Great Train Robbery none the less is testament that simplicity of plot and a keenness to entertain is sometimes all you need. 8/10
Red Heat (1988) - www.imdb.com/title/tt0095963/reference
Look out Chicago, Arnie & Jimmy are loose on the streets.
Captain Ivan Danko (Arnold Schwarzenegger) is a no nonsense Soviet cop who is sent to Chicago to pick up a murdering Russian drug dealer. Upon arriving in the windy city, Danko is teamed with Art Ridzik (James Belushi), a wise-cracking street cop notorious for cutting corners to get the job done. Complete polar opposites, both men form an unlikely alliance as Danko's Soviet methods blend with Ridzik's free spirited street wise techniques.
There were quite a few buddy buddy films around in the 1980s, certainly the teaming of unlikely cop partners was nothing new at the time of Red Heat's release. Yet for all it's obvious reliance on clichés, and its out dated Russian/American guffaws, Red Heat is a romping, violent and funny picture. Pairing the big Austrian Oak Schwarzenegger with the Americana that is James Belushi pays off in bundles. Yes it's sometimes crass, but Belushi's cocky mannerisms play off Schwarzenegger's robotic frame with comedic joy. All played out in amongst carnage and murder created by director Walter Hill, who is quite frankly, and thankfully, just extending the formula that he started in 1982 with 48 Hrs.
The support cast is not to be sniffed at either. Peter Boyle, Ed O'Ross, Laurence Fishburne, Pruitt Taylor Vince, Brion James and Gina Gershon. All line up to add fuel to the Arnie and Jimmy fire. Also good to see is that Hill shot on location in Illinois and Moscow to give the film some scenic impetus, whilst James Horner's score is suitably bombastic and at one with the material. It's no rocket scientist who observes a film like this and calls it popcorn fodder, because it so obviously is. But within its buddy buddy framework lies a very quotable film that's essential for fans of Arnie & Jimmy. Sometimes that's all one needs from a film like this. 7/10
Alien³ (1992) - www.imdb.com/title/tt0103644/reference
Don't feck with The Baldies!
Special Edition.
I love it, I really do. OK! So it's basically a monster on the loose piece, but the setting at a sci-fi prison colony - complete with nutty religious shards - makes for a thrillingly atmospheric ride. Of course if this was merely a stand alone film, where there was no Alien and Aliens previously, I feel sure the special edition cut would be thought of differently.
A roll call of Brit thesps line up for some tension filled entertainment as director David Fincher and cinematographer Alex Thomson provide a look that is both beautiful and scary. The metallic nightmare of chambers and cold concrete fused together for some hellish stalk and paranoia. Industrial Punk? Steam Punk? Cyber Punk? Fincher Punk? Hey man, we gotta give it a name! And of course there's Siggy Weaver front and centre, the reassuring presence among the murderers, rapists and child molesters.
I could live without the attempt at a transcendent finale, but in extended form this has much to light your fires. It also showed that Fincher would be a director to watch - imagine if had he been left alone to craft his own vision? His subsequent career and standing makes a mockery of the studio execs involved in the making of Alien³. 8/10
Clear and Present Danger (1994) - www.imdb.com/title/tt0109444/reference
These drug cartels represent a clear and present danger to the national security of the United States.
The third outing for Tom Clancy's Jack Ryan - and the second with Harrison Ford in the lead - is a tightly constructed political thriller. Condensing Clancy's door stoppers is no easy task, but the makers here, headed by director Phillip Noyce, have manged to keep the pic brisk and intelligent for entertainment worth.
Plot essentially boils down to America's war on drugs and the Colombian cartel at the helm of such operations. Naturally all is a bit suspect in the American corridors of power, leading to corruption and abuse of power that puts Jack Ryan firmly at the front to sift and destroy the bad eggs staining the American Star Spangled Banner.
This very much plays out for those who like a bit of politico subterfuge, whist being ok with long passages of like minded chatter is also a requisite. That we have a fine cast playing out the screenplay (Donald E. Stewart, Steven Zaillian and John Milius) is a big plus that gives credibility to the shifty machinations.
There's a nagging annoyance throughout that this still should be a better film, especially given the overstretched run time of 2 hours 20 minutes, and the computer sections are dubious and the finale is something of a damp squib. However, we are in the company of great pros, both in front of and behind the camera - and also on the page (Clancy's brain superlative). With that in mind it's reasons to seek this out and enjoy if this splinter of political thriller is your bag. 7/10
Jurassic World: Fallen Kingdom (2018) - www.imdb.com/title/tt4881806/reference
Cover Version 2
It was 1993 when Jurassic Park was unleashed upon the film loving public, spawning a blockbuster franchise and pop culture thunders in the process. Sadly we now find ourselves suffering cover versions of what was once a great and thought provoking premise with high octane thrills into the bargain.
I guess once they started personalising the Velociraptors, making one of them a friend of man, it was the beginning of the end. But we accepted it - sort of - jumping into 2015's Jurassic World with carefree abandon. More dino carnage we wanted, a bright cast fronted by the ever likable Chris Pratt and Bryce Howard drew us in, but it was merely ok, a franchise entry that was just a quick fix but nothing more. But of course box office talks and the franchise lumbers on to Jurassic World: Fallen Kingdom...
Plot returns to Isla Nublar which along with all the dinosaur inhabitants is about to be vanished from the planet by the mother of all volcanoes. Cue mankind jostling over whether to save a species that was once extinct whilst others have nefarious motives for financial gain.
Off we go then, stock characters that are over familiar are performed by different actors but go through motions we have witnessed before, whilst the writing strains for a sort of human empathy factor that never hits the mark. There is nothing remotely fresh (well Howard has at least changed her footwear to something more credible) or exciting on offer here, it's a tired cash cow that's in dire need of extinction itself.
Naturally another instalment will come along, and naturally it will make money, with myself and the other millions of Jurassic zombies filing in to view what we hope will be a return to the heady days back in 1993. But it's most likely a forlorn hope, so maybe, just maybe, it should be enough now, enough? 5/10