What classics did you see last week ? (14 Jul - 20 Jul 2019)

Hi all,I hope everyone is having a good weekend,and with my dad having his birthday on Monday,we both watched a movie together. I also hit 2000 IMDb reviews. For reviews 1996-2000,I decided to pay tribute to Guy on my IMDb page by reviewing some of his favourite films,with my 2000th review being for what was his favourite film of all time:

Guy Morgan tribute:




1: The Thing (1982)

Iced out with a new 4K restoration, Arrow present an incredible transfer, where the finely balanced soundtrack and glittering restored image are joined by extensive extras.

Proving the third time to be the charm, Kurt Russell reunites with his friend and gives an incredibly subtle, brooding performance, gradually building on MacReady's isolation in withdrawn, back to the wall body language, raging with fear over who is the thing. In the middle of nowhere from anywhere else in the world, the rest of the cast give outstanding performances as the fellow research scientists,with Keith David as the ambiguous Childs and Richard Dysart as the fearful Dr. Copper being two of the highlights of the cast.

Being the first "outside" composer for the director,and ending up with a "Razzie" nomination for his work,Ennio Morricone drills a utterly chilling, low-key score,pressing on the loner state of the team with shards of the score casting cracks across the ice. Continuing to build on the visual themes that run across his work, directing auteur John Carpenter reunites with cinematographer Dean Cundey and masterfully expands on their distinctive dolly shots, in the long, slow wide-shot dollys down corridors with a single figure or shadow haunting the location. Tangling the research scientists in Rob Bottin's spectacular,otherworldly practical monster effects, Carpenter and Cundey continue to build on their themes for contrasting appearances for the outside/inside locations, as the inside horror of a blood red monster and the dripping with tension wide group-shots being stabbed in the merciless outdoors of the low-lighting miles of snow in the wilderness.

The first feature film by Carpenter that he did not write himself, the screenplay by Bill (son of Burt) Lancaster impressively continues to expand on Carpenter's theme of "The Shape", thanks to not giving the monster any dialogue (or dry exposition),and instead focusing on characters attempt to survive the unrelenting onslaught of The Shape. Not featuring a single woman in the film or in the crew, Lancaster makes this isolation of masculinity one which is fuelled on fear and mistrust, exploding in MacReady holding back from making a true attachment to any of his fellow scientists, leaving him shaking with a nihilistic fear over being left in doubt over if he has confronted all of the thing.



Since starting to get movies on the grey market & torrent about a decade ago (I know,but better late than never!) the uncut Death Wish 2 was always the main title Guy was after,which I could not find. Learning it had come out with DW3 (his favourite in the series) on Region B Aussie Blu-Ray I ordered it as a surprise,and it arrived a few days after he had passed away.

2: Death Wish II (1982)

Seamlessly re- inserting the cut footage, Umbrella present a surprisingly strong transfer, with the picture being pristine, (and containing some film grain grit) and the soundtrack being crystal clear.

Taking whatever claim the original Death Wish film had of taking a serious look at vigilante justice, and ripping that plaster straight off,by the movie becoming the first US production for the absolute mad lads at Cannon. Returning with the lead actor, director Michael Winner shoves the flick in the Grindhouse gutter, via the rape scenes oozing with a visceral grubbiness, and the vigilante killings splattering red on the screen.

Backed by the chainsaw guitar score from Jimmy Page (yep,the Led Zep one!) and filming on the real back streets of LA (where druggies and cross-dressers were used as extras) Winner gloriously unloads a comical level of sleaze dipped in neon colours, exploding from over the top set-pieces springing from a freeze-frame jump through glass, a bullet through a boombox (smell the 80's) killing, to Kersey (a fittingly blunt and grunting Charles Bronson) making mincemeat out of street thugs half his age and all fully loaded. Making just a few mentions of past events, the screenplay by David Engelbach & Winner (uncredited,despite extensive re-writing of Engelbach's script) wipe the slate clean for blunt-force revenge,with Kersey not being one to talk about his "feels", but to hand out wonderfully unrelenting revenge to all those with a death wish.



3:Death Wish 3 (1985)

Continuing from the second one, Umbrella present a terrific transfer, with the clean picture having a suitable level of film grain intact, and the audio popping from each gun shot.

The sixth and final time he worked with the lead, (who later said he was not happy about not being told of the violent scenes no involving him) director Michael Winner returns with pure Cannon fodder, high-grade schlock. Joined by Jimmy Page also returning with a grinding score (and a joyfully script,where Kersey becomes a enemy/friend of the cops to take on the animated gangs,at the flip of a coin) , Winner button-bashes to a incredible body count of 83,via throwing everything at the Action to make it as hilariously over the top as possible, via OAP's rising up with guns and brooms to join Kersey in wiping out scum from their turf, (filmed in London,but made to look like New York!) biker gangs and endless gun fire leaving the place a burning wasteland, all topped by the rattling thrills of Kersey killing each big gang member without a drop of sweat,in granting a third death wish.


Introduced by this and the next film by Guy bringing the cut videos round countless times for us all to watch, my dad spent ages searching for uncut DVDs of the films to import,which he gave to Guy on his birthday.



4: The Salute of the Jugger (1989)

Setting the pitch in a area of the South Australian desert town of Coober Pedy called The Breakaways, writer/director David Webb Peoples & Mad Max/Pitch Black cinematographer David Eggby rumble the Sports genre with a breath-taking Ozploitation Post-Apocalypse landscape, shining from Peoples and Eggby's tracking shots over the twisted metal in the desert, and vast,panning wide-shots across the colourful exposed sandstone outcrops where people watch behind a steel cage the Jugger get played. Joining the roving teams, Peoples plays the games with a ripe pulpy atmosphere of blood splattered on the pitch, stylish, late 80's Slo-Mo for the deadliest moves,and wonderful over the top macho costumes for the players.

Falling to the ground of a future where most of humanity has been wiped out, (a set-up that would kick-off the later Peoples-written film 12 Monkeys) the screenplay by Peoples takes the Sports genre traditions of team bonding and losses,and dips them into gritty Post-Apocalypse, via the awareness that the next match could end with their deaths,adds to the pressure on the rag-tag team led by Kidda and Sallow into pulling the team across the line against the gladiator-style opponents. Encouraging the rest of the team to take on the highest-rank other teams, Joan Chen grips on Kidda's toughness in proving that she is a match against any man on the field, whilst Rutger Hauer delivers a home run as the tough as nails Sallow,who attacks his regrets of the past with fury at fellow players in order to salute at the Jugger.



5: Turkey Shoot (1982)

Entering the Post-Apocalypse with stock news footage of riots, director Brian Trenchard-Smith proves himself to be a master at Ozploitation in placing one sizzling chunk of sleaze on top of each other, flame-grilled on naked shower scenes and barking mad prison wardens. Powered by Brian May's (not the Queen one) moody dark Synch score, and having production cut from 44 days to 28 just before filming began, (producer David Hemming rushed in to do second unit to keep shooting on track after a major investor dropped out and left a $700,000 hole) Trenchard-Smith goes gloriously all guns blazing excessive for the gloriously over the top Action thrills, springing from mountain hunting of the prisoners and blood-drenched booby traps, to diggers charging along as killing machines,all topped by the site being nuked from the earth.

Originally written as a mix of The Most Dangerous Game and the film I Am a Fugitive From a Chain Gang set in depression era Deep South US, the screenplay by Jon George/ Neill D. Hicks/ George Schenck/ Robert Williams and David Lawrence strips out any subtle notes from the origins, to instead pull out a fantastic slice of Grindhouse, spun from the relentlessly vicious guards/hunters barking out commands,that get crushed by the prisoners taking their chance to fight for freedom. Stating later that they hated doing the film due to showing skin and the humid location, the distaste Olivia Hussey, Michael Craig and Lynda Stoner had off-screen actually enhances their runs on-screen in grubby Logan's Run-style gear,thanks to them each snarling at the guards as they try to escape the turkey shoot.

Films of '42.



Mashenka 9

Storming the Winter War, director Yuli Raizman charges into the final 10 minutes with long winding panning shots following troops crawling on the snowy grounds, and tanks bursting out storming the border. backdrop until the final,Raizman (a nephew of Fyodor Otsep) unwinds with a silky Melodrama atmosphere,lit in comedic montages of Mashenka being worn down at work,to glittering dissolves and stylish swipes over the war-torn blossoming romance between Mashenka and "Alyesha."

Whilst the calling of each other "Comrade" and Mashenka talking about "Overcoming a big obstacle"(gee,in 1942 I wonder what that could be alluding to!) do stick out as misplaced, the screenplay by Yevgeny Gabrilovich & Sergei Yermolinsky sands them down with great,sweetly comedic exchanges between Mashenka and the poetry-writing "Alyesha." Spilt by the war, the writers surprisingly send Mashenka to the front line,where she nurses troops in the middle of gunfire, which binds a lingering desire of Mashenka to get out of the trenches,and cross over to a search for her love "Alyesha." Joined by a terrific Mikhail Kuznetsov who captures the rustic humour of "Alyesha", Valentina Karavayeva gives a utterly enchanting turn, wearing her heart on the sleeve even as a Winter chill nears Mashenka.



The Dover Boys at Pimento University or The Rivals of Roquefort Hall 10

Originally blocked by the studio from being put out until their shorts release schedule needed a slot filled, director Chuck Jones flourishes in looping satirical character design, with experimental, off-the-wall Comedy. Pencilling the three brothers as riffs on High School movie archetypes in chiselled jock Tom, dapper Dick and brainless Larry Dover,Jones has the brothers bicycle in on his distinctive taffy-style pulling of speed,leading them to make extreme,over the top poses,as sneaky Dan Backslide pulls their love Dora Standpipe from a tree. Along with splendid vocal performances from Mel Blanc and Bea Benaderet,the screenplay by Tedd Pierce gives a wonderfully wry corniness to the students at Pimento University.

French duo from the year:




Caprices (1942) 8

Placing the glass slipper on Lise with chic swipe edits,co-writer/(with Andre Cayatte/ Jacques "dad of Nina" Companeez and fellow film maker Raymond Bernard)director Leo Joannon & cinematographer Jules Kruger bake a fluffy, fairy tale atmosphere in elegant panning shots round Lise being the star of every ball, glittering in high above wide-shots under a chandelier, to winding shots down streets over her sparkling clothes displaying Lise becoming a dream princess. Sitting down to Lise acting in a imploding stage show before her wishes are granted, Joannon contrasts the high-life with jump-cuts on Lise and her entourage being confronted by cops, looped with cramped whip-pans during Lise's attempts to perform on stage.

Mentioning Cinderella a number times in the film, the writers pour the basic outline of the fairy tale out and whisk up a a tantalising, dreamy tale, via Lise's down on her luck roots of having to struggle as a actress and a poor flower seller being kept in tact even as she gets to the ball on time. Unhappy with Lise stepping on his toes, Jean Paredes slices the film with a comedic relish as Constant, whose eye rolls and off the cuff comments high light the luxuries Lise is becoming surrounded by. Looking immaculate from her stage intro, alluring Danielle Darrieux gives a fantastic turn as Lise,thanks to Darrieux being able to twist Lise's humble beginnings into a street smart,playful confidence among the caprices.



Gambling Hell 8

Gambling in production the beginning and the end of the Occupation of France, director Jean Delannoy & cinematographer Nicolas Hayer make the backstage troubles disappear by heating a smoking hot atmosphere from sweltering white light basking down on the gamblers and arms dealers. Going pass a tourist poster for Japan in the long opening panning shot, Delannoy rolls the dices in bustling casinos, (which include a early use of CCTV!) where the flipping of cards is matched by ultra-stylised sweeps up to the balcony towards placing their hopes on red, which burns into a final which leaves all the seedy underworld operations bombed out of town.

One of the few films from the era featuring a Euro and Asia cast,Pierre-Gilles Veber and Roger Vitrac's adaptation of Maurice Dekobra's novel treats everyone a equal deep shade of grey in the cut-throat world of gambling and arms smuggling. Keeping the Melodrama bubbling away with the terrific entanglement of hard-nosed Krall saving siren Mireille from death, that gets smoothly mixed with the Film Noir grit chipped from Krall trying to break the winning racketeering hand of Macao underworld boss Tchai.

Using force to make sure his house always wins, Sessue Hayakawa gives a great performance as Tchai, whose sharp suits and slippery dialogue delivery are used by Hayakawa to hide a ruthlessness under the table, whilst seductive Mireille Balin tugs at the Melodrama heartstrings of Krall as Mireille. Sailing in just after the ban of him appearing in French cinema had been lifted, Erich von Stroheim gives a great,gruff performance as Krall,whose love for Mireille Stroheim has get trapped in a gambling hell.

Other flicks:



Sing, You Sinners (1938) 7

Featuring the two future hit numbers Small Fry and I've Got a Pocketful of Dreams,director Wesley Ruggles & cinematographer Karl Struss spin the Musical numbers with a razzle, dazzle atmosphere of swooning wide-shots over Beebe brothers singing in smoke-filled night clubs (they also offer chance to see MacMurray in drag!) Away from the Musical set-pieces,Ruggles contrasts the happy-go-lucky mood with the aftermath of the 1929 crash still looming in Joe Beebe's search for get-rich quick schemes leading to runs round horse racing, (a real life interest for Bing) and ending in a surprising brawl.

Firmly against Joe's gambling ways, the screenplay by Claude Binyon buys winning tickets for the Melodrama between the Beebe's, as David has to sacrifice everything for the good of the family, whilst mother Beebe is left in dismay by her youngest son Mike idolising Joe's quick-buck-ways, to the point where he joins Joe at the races. Although they do not look like brothers at all,Bing,MacMurray and Donald O'Connor each give delightful turns as the Beebe's,with O'Connor bursts of energy having Mike bounce between David's worn-down life,with the slippery antics of Joe getting the sinners to sing.

Thanks for your comments on Affair In Trinidad. I gave it a mild pass just because Rita Hayworth and Glenn Ford showed up for it but basically agree with most of what you say about the film.

From your own reviews this week, I like the sound of "To The Ends Of The Earth" and already have it lined up for next Saturday's thread.

The Lion in Winter (1968)



Joan of Arc (1948)

Be Prepared is also my favourite song from the film (I heard the remake "version" on YT,it stinks!) Did you know that Irons actually blew his voice out during the recording? After the line " You won't get a sniff without me",the last verse of the song is voice of Pooh/Tigger Jim Cummings doing an impression of Irons.


 

Susie's Hope (2013)-- Based on a true story, this centers on a pregnant woman who is attacked by a neighbor's neglected pit bull, with tragic results. Despite, or perhaps because of, this traumatic experience, when she comes across a pit bull mix puppy that has been abused, set on fire, and has become infested with maggots while left to die in a park, she decides to foster it herself. In the scenes with the puppy, a puppet is obviously used, but all subsequent scenes with the dog are played by the real-life Susie in the film.  The film dramatizes the efforts of the dog's new owner to get stronger animal abuse laws enacted in her state. Does she succeed? Here's a hint--the state senator who agrees to help her is played by Jon Provost, who played Timmy
in the 1950s version of the Lassie TV series, so he'd better help her out.  Another nice touch--the other animals in the film are listed in the end credits. If you like tearjerker films about animals, this is a nice choice.

The Great Buster: A Celebration (2018)--Peter Bogdanovich's documentary about silent film legend Buster Keaton is a nice introduction to his life and work. Kevin Brownlow's excellent documentary, Buster Keaton: A Hard Act to Follow, was much better, but unfortunately is not readily available, so this one will have to do. Some of the talking heads are out of place (Paul Dooley adds little; Cybill Shepherd even less. Johnny Knoxville considers him an inspiration for his crappy films? Keaton must be vomiting in his grave at that one), but a few do add some insights--Leonard Maltin, for instance, mentioning how MGM ruined virtually every successful comedy team that turned up at that studio. Some nice moments, such as Keaton earning enough money to buy his own car, and drive it, at the age of 12. A good place to start for those who are unfamiliar with his work, or for those who want to go back and re-watch his best films.

Rebecca - nearly a 10/10 masterpiece from the master himself.

Do you think the dead come back and watch the living? 

Rebecca is directed by Alfred Hitchcock and adapted to screen play from the Daphne du Maurier novel of the same name. It stars Laurence Olvier, Joan Fontaine and Judith Anderson. Cinematography is by George Barnes and music scored by Franz Waxman.

After meeting and marrying 'Maxim' de Winter (Olivier), the Second Mrs. de Winter (Fontaine), finds life at his English estate, Manderley, far from comfortable because the servants and the house serve to remind her of the first Mrs. de Winter, whose death remains a source of mystery. What did happen to the first lady of the house? Can this newly married couple survive the oppressive cloud that looms large over the mansion?

A Gothic emotional near masterpiece, Alfred Hitchcock's first American film may seem a bit too serviceable at times, something he was also aware of himself, but the production values are high and the story is played out supremely well. Within the story we can find Hitchcock's now famous trait of mistrusting Women, but in the main it stays the tragic tale of one young woman living in the ominous shadow of the previous Mrs. De Winter. Mood is often set as foreboding, with the director understanding the psychological pangs of the source material once the action switches to the de Winter home of Manderley. It arguably is a touch too long, and the restraint of Hitchcock, down to producer David O. Selznick overseeing things, stops it being a bit more unnerving than it should be.

For Manderley the mansion here is one of the finest put on the screen, this is because Hitchcock and brilliant cinematographer George Barnes manage to make it bold & beautiful one minute, and then the next scene it comes off as a monolithic nightmare. It's wonderful case of the surroundings playing the extra character for maximum effect. Laurence Olivier is impressive, even if we would learn later on that this is the sort of performance he could do in his sleep. The supporting cast do great work as well, especially as regards the cold and terrifying turn from Judith Anderson as Mrs. Danvers. However, to me this will always be Joan Fontaine's show, she nails it perfectly, the new Mrs. De Winter wants to do right but can't seem to so for doing wrong, she infuriates at times, yet the next minute you just want to hold her, for she's so vulnerable, but beautifully so, it's a brilliant performance in a brilliant film. 

The ending is a switheroo from the novel, and it almost derails the success the film has achieved up to that point. And looking at it now it's hard not to curse the Production Code for enforcing a big change to what was revealed in du Maurier's wonderful novel. But the film has survived the "appeasing" ending to stand the test of time for all the ages. It won the Academy Award for Best Picture, and Barnes also won for Best Black & White Cinematography, it was nominated for a further nine awards, including Best Director, Best Actor, Best Actress and Best Supporting Actress. No nomination for Waxman, sadly, but his score is worthy of a mention for the evocative strains that sit nicely with the tone of the story. Rebecca, a hauntingly beautiful picture that's acted and produced with consummate skill. 9.5/10

True Lies

Cameron and Schwarzenegger team up again for a riot of an action movie.

True Lies sees Arnold Schwarzenegger play Harry Tasker, to his wife Helen (Jaimie Lee Curtis) and daughter Dana (Eliza Dushku) he's a safe husband and father working as a computer salesman. Away from the family home he's a top spy for one of America's highest secret services. When Harry is prompted to believe that Helen is having an affair, it signals the start of a sequence of events that will out Harry and lead them both to a confrontation with a deadly terrorist.

To hell with misogyny and stereotypical Arab terrorist (Art Malik so OTT he's off the chain man), Cameron's True Lies really isn't concerned for political correctness. His aim, aided by his on form cast, is to chase, caress and explode stuff whilst having a laugh at every turn. True Lies, if anyone was in doubt prior to its release, shows Cameron to be supremely gifted at action set pieces. No expense spared of course, but you still gotta utilise those Harrier Jets, helicopters and horse carrying elevators to great effect. And so it proves. Throw in a tremendously funny script that gives Tom Arnold & Bill Paxton comedy gold roles to revel in; and what you get is a Worldwide box office profit of nearly $264 million.

It knows it's nonsense, but it's the good kind of nonsense that Hollywood has to offer. Ever re-watchable, True Lies is undeniably great fun. 7.5/10 

I shall be a very keen reader of what you have to say about To the Ends of the Earth. I can't say it's a lock in that you will enjoy it (I had to watch it twice), but I do think you will at the least get some positives from it.

Thanks for the kind words Spike, (I took my time with the write-ups) and the Razzie nom for the score shows how credible the award is. On Monday I at last went with friends and family to Chester Zoo, to finally see the tribute for Guy at the place. With Jugger having been one of Guy's favourite movies,the passing of Rutger (Trivia: in Argento's silly Dracula 3D, he became the first Dutchman to ever play the Dutch Van Helsing on screen) sure makes it look like it is one of those years...