What classics did you see last week? (21 Aug to 27 Aug 2017)

I am watching The Glass Slipper right now... and I am so bored/pissed at this adaptation. Leslie Caron plays a REBELLIOUS, bratty cinder- Ella, often boasting a prediction what some gypsy told her mother three years before Ella was born... that she will end up living in a palace.

Prince Charles [why did they choose the name Charles???] is 'prince charming', son of the Duke who is rule of the kingdom [have these people never opened a book about royalty???] and is like 44 years old. he must be the best brain/heart/orthopedic surgeon/lawyer around as he has just gotten back from schooling. and hair dye must not have been invented in 1955 because you see the salt come through the pepper colored hair he has. He IS charming and he and ella meet up before the ball but Charles didn't introduce himself as Prince, just that he was the son of the cook at the palace. reminds me of Aladdin.

Here is where I am bored/pissed. I'd understand if they wrote Ella to be a little rebellious in the town's/step mother's and sister's eyes if THEY were rude and treated her like crap. but they don't. in fact, there are hardly any scenes with them all together and they hardly say or do anything cruel to Ella, in fact they just seem to ignore her. The scenes we DO see where they are cruel end up to be dream sequences, as Ella wakes up at the end, so that needs to be taken into consideration and with a grain of salt. Ella seems to be putting on a 'piss pot' show when the townspeople tell the prince [who goes asking about her in the middle of the movie] that she is rebellious and has poor social skills. I'd call her rebellious too, if a half servant half family member spent all her time sleeping and dreaming about how cruelly she I being treated.

this is the weakest adaptation of Cinderella I have ever seen, and I have read MANY versions of the tale.

and of course, the prince at the ball, wearing a white wig like they did in the 1770's... looks like Superman's father -- Marlon Brando!!! And of course, the role was given to Mr. Elizabeth Taylor at the time. entirely too old to be an eligible bachelor. good god! no wonder it only made three hundred thousand back in 1955.

WIND RIVER

Directed by Taylor Sheridan, U.K., (2017), 107 minutes

Written and directed Taylor Sheridan, the Oscar-nominated screenwriter of “Sicario” and “Hell or High Water,” Wind River is a murder mystery about the assault and murder of a young Native American women. Part character study, part police procedural, and part political statement, it is nonetheless a deeply disturbing film and one that contains graphic violence including a brutal rape scene and a good deal of heartbreak. Though Sheridan has been criticized for not casting a Native American in the leading role, he said that, while he has lived on a reservation, he was still an outsider and did not feel qualified to write his main character as a Native American.

Beautifully photographed by Cinematographer Ben Richardson (“Beasts of the Southern Wild”) and set in the snowy hills of the Wind River Indian Reservation in West Central Wyoming, the film begins with a young Native American woman running barefoot through the snow leaving a trail of blood. The scene then shifts to a man lying in the snow on his stomach. Rifle in hand, he picks off wolves that have been attacking sheep in the area. The hunter is Cory Lambert played by Jeremy Renner (“Arrival”) who delivers a strong performance as the tough, stoic, and taciturn man who works for the U.S Fish and Wildlife Service. When Cory discovers the frozen body of a young woman he recognizes as his daughter’s friend Natalie (Kelsey Asbille, “Full of Grace”), it brings back memories of his daughter, also a Native American, who died a few years ago under mysterious circumstances.

Cory pays a visit to his estranged wife Wilma (Julia Jones, “High School Lover”) and his son Casey (Teo Briones) to tell them about the tragedy but, once the film focuses on solving the mystery of Natalie’s death, they are not heard from again and the thread is left hanging. Since Natalie’s death occurred on tribal lands, Ben (Graham Greene, “Out of the Darkness”), chief of the tribal police, becomes involved in the investigation. Like Jeff Bridges’ Sheriff Marcus Anderson in “Hell or High Water,” Ben has a dry sense of humor but goes about his business in a focused and determined manner. The investigation, however, is run by rookie FBI agent Jane Banner (Elizabeth Olsen, “Ingrid Goes West”) who was sent from the Las Vegas office incongruously dressed more for a Las Vegas show than for the unforgiving, bitter cold of Central Wyoming.

Reminiscent of Emily Blunt in Denis Villeneuve’s “Sicario” who loses her illusions about the nobility of her work against drug lords, but maintains an inner strength, Banner is beautiful, self-assured and expert, but she is vulnerable and seems somewhat out of place in this environment. She pleads with the coroner to report that it is necessary that Natalie’s death be ruled a homicide in order for her to remain on the case, yet he is unable to do so at this point. Nonetheless, she remains and relies on Cory who has lived and worked in the area for years to help her find the perpetrator of what is now clearly a crime. Given to short pithy statements, on Jane requesting backup for his investigation, Cory tells her, “This isn’t the land of backup, Jane. This is the land of: You’re on your own.”

In another “highlight” remark, Cory tells Jane when she searches for snowmobile tracks in the mountains, “You look for clues, but you need to look for signs.” The two are seeking information on Natalie’s boyfriend Matt (Jon Bernthal, “Baby Driver”) but, when they come upon an oil drilling platform, the film erupts in a shootout between the tribal police with handguns, the drilling rig workers with automatic weapons, and the lone FBI agent equipped only with a pistol. The final resolution of the conflict follows a fairly predictable path since there just are not that many suspects working in the area or living on the reservation other than Natalie’s grieving family, a gang of drug addicts, and members of the tribal police. In confronting what turns out to be Natalie’s rape and murder, Cory must also come to terms with his daughter’s death. In a sequence of moving immediacy, he tells Natalie’s grieving father, Martin (Gil Birmingham, “Hell or High Water”) that it is dangerous to avoid the pain of grieving because that is the only part of a loved one that remains after her death.

Wind River is a strong, suspenseful film that holds our attention throughout. Not much is left to our imagination, however, and the mystery is revealed in a gory flashback that ends in over-the-top violence. While the film has its flaws, to its credit it reminds us that Native American women are much more vulnerable to sexual assault than women of other ethnic backgrounds and that their rapes and murders go largely unreported. In its avoidance of the economic, social, and cultural conditions on the reservation or the unique experiences of its residents, however, it surrenders what might have been a powerful and lasting experience.

GRADE: B+


DEEP END

Directed by Jerzy Skolimowski, U.K., Germany, (1970), 98 minutes

Jerzy Skolimowski’s masterful 1970 film Deep End went under the radar for half a century until a recent DVD release revealed its treasures. Deep End looks like but is not a coming-of-age film. The two main protagonists, 15-year-old Mike (John Moulder Brown) and 24-year-old Susan (Jane Asher), unfortunately never come of age. Neither is it a so-called black comedy, a horror film, or a surreal, dreamlike exercise in teenage angst, though it has elements of all of them. It is basically unclassifiable but is definitely closer in tone to Clockwork Orange than to The Graduate.

Darkly erotic and sexually ambiguous, the film opens with a vision of dripping red paint backed by the music of Cat Stevens singing “But I Might Die Tonight.” Mike, a high-school dropout, has gone to work as a pool attendant at Newford Baths, a sleazy and deteriorating public pool that is filled with middle aged patrons looking for something other than a swim. Having been accosted by a bosomy, obese middle-aged woman (Diana Dors) for her own pleasure, Mike realizes that his first job experience may not look good on his resume. The boy’s interest is channeled to his co-worker Susan who reassures him that harassment by patrons is just part of the job, one that could lead to some liberal tips.

A part of the job he had not bargained for, however, is his growing infatuation and obsession with the 24-year-old Susan, who has a fiancé (Christopher Sandford) and boyfriend, a married former high school teacher (Karl Michael Vogler), and also may just be an expensive call girl. Their relationship starts out full of fun and brotherly concern but it starts to turn creepy when he follows his mentor and her date to a porno movie and starts annoying her by touching her breasts. When her boyfriend alerts the manager, she thrills him when with a kiss on the lips just before he is ushered out of the theater.

When Mike steals her poster found at a Soho strip club and attempts to compete in a footrace against runners at his old school, where he was himself a celebrated athlete, we know that the deep end is not far away. Mike’s lust for Susan begins to include stalking and threatening and we begin to realize that his out-of-control emotional immaturity is the stuff of impending tragedy. Beginning and ending with the silence and comfort of water, the powerful and unsentimental Deep End may make you think twice before going for a swim.

GRADE: A-

Late Aug 20 to this hour Aug 27

I wish to admit an error in my anniversary watching of MYSTERY SCIENCE THEATER 3000. Following Aug 1 and HERCULES UNCHAINED, I watched the following episodes (INDESTRUCTIBLE MAN, HERCULES AGAINST THE MOON MEN, and THE MAGIC SWORD) in the following weeks. Although I was correct in the order, I failed to check up and find out that there was no new episode on August 8 1992! So I watched these episodes a week early. So I am going to have to wait on my THE MAGIC SWORD comment until next Sunday.

HAUNTED HONEYMOON (1986) Dir: Gene Wilder. Wilder and Gilda Radner give a send-up to the Murder-Mystery-comedies of the Golden Age (nods from THE OLD DARK HOUSE and THE CAT AND THE CANARY). I remember my family splitting up to see this film and THE GREAT MOUSE DETECTIVE in the summer of 1986; the males went to see the former and the females went to see the latter, or that was the plan. However, the trailers showing Gene Wilder in hysterics freaked me out enough for me to see the Disney film with my mom and sisters…where I was subjected to scares I probably would not have gotten from HH. Although I made the right choice with GMD, this film interested me when it came on TV (I was on a CLUE fanboyism with mystery mansions at the time; incidentally, John Morrie composed both films). With Dom DeLuise, Jonathan Pryce, Peter Vaughn, and Paul L. Smith. HBO/Cannon Video VHS

THE FORSYTE SAGA (1967) “The Pursuit of Happiness” Dir: David Giles. More set-up, with the demise of the cold Frances Forsyte (Ursula Howell) and the awkward courtship between Soames (Eric Porter) and Irene (Dawn Nyree Porter). The episode ends with clearly the implication of Soames and Irene consummating their marriage (Yes, I know what’s coming up…); British television was more freer in sex standards even back in the 1960s. Warner/Turner/BBC Video

NARUTO SHIPPUDEN (2015) “The New Chunin Exams,” “The Chunin Exams Begin!”, “The Three Questions”, “One Worthy as a Leader,” “The Night Before the Exams”, and “As a Taijutsu User.” Studio Pierrot, the studio that adapted Masashi Kishimoto’s manga series NARUTO, found itself in a unique situation; Japanese animated series adapted from a presently publishing Manga always had the problem keeping a timely distance from the schedule of the written source’s publication. The Anime creators tried several solutions: create new filler storylines to give the manga time to publish more material, create its own ending (FULLMETAL ALCHEMIST Anime1) or stop at a point (RUROUNI KENSHIN, HIS AND HER CIRCUMSTANCES) with sometimes the hope of a conclusion series to finish it up (INU YASHA- THE FINAL ACT). The thing is, in the fall of 2014, the manga had ended. But rather than finish up the adaptation, Studio Perriot decided to milk the Naruto franchise by prolonging the series as long as possible. In this case, they interrupted the canonical storyline with multi-episode arcs set in the past (it would not be until October 2016 that they finally completed the adaptation, and not until April 2017 that the series ended). First of these stories was the New Chunin Exams Arc, which deals with exploits occurring in the 2-and-half-year gap between NARUTO and NARUTO SHIPPUDEN (or Manga-wise Part 1 and Part 2), explaining how the characters who lost in the previous rank-building Exam finally received their step-up, while also spotlighting the seven-tail Jinchikuri Fuu, a person mentioned but never established in the manga. Viz Media DVD.

NARUTO SHIPPUDEN (2014) “The Adored Elder Sister,” “Hanabi’s Decision.” With THE LAST: NARUTO THE MOVIE in theaters, the Anime series decided to tie-in the film with a two-parter about Hanabi Hyuga. A major factor in the film’s plot, the character nevertheless only appeared twice in the manga series. So this two-parter set out to fill in the characterization of Hanabi, and her relationship with her sister Hinata and the Hyuga Clan. Viz Media DVD.

THE FORSYTE SAGA (1967) “Dinner at Swithin’s” Dir: David Giles. And now, A MAN OF PROPERTY can now be told. Young Joloyn’s daughter June is now engaged to Bossiney. Soames, seeing his shallow marriage with Irene but unable to part with his ‘property’, sets a plan to save it. Warner/Turner/BBC Video

COVINGTON CROSS (1992) “Pilot.” While protecting his lands from a villainous Baron (James Faulkner), Landowner Sir Thomas Grey (Nigel Terry) also has to deal with a relationship with a neighboring widow (Cherie Lunghi, who appeared with Terry in EXCALIBUR), two sons in indefinite rivalry (Jonathan Firth and Ben Porter- soon to be replaced in the regular series), a younger son (Glenn Quinn) training for the clerichood who has more interest in secular matters, and a daughter (Ione Skye) more interested in crossbows than maidenhood. This short-lived medieval drama premiered twenty five years ago this August 25, 1992. Viewed this one a Bootleg.

THE LAST OF THE MOHICANS (1992) Dir: Michael Mann. Action-packed adventure set during the French and Indian War based on James Fenimore Cooper’s novel. I first saw this one on TV in 1993, having already seen the 1920 silent version (which was more faithful to the source). Loved the Trevor Jones-Randy Edelman soundtrack, getting the CD in 1998, and then being fully acquainted with the film a year later to my enjoyment. Still, for a film that tried to more authentic (actual Native Americans in the roles, unlike earlier versions), it does tend to sanitize Cooper’s mixed relationships (Madeline Stowe’s Cora is now all-white and instead of a romance with Uncas the Mohican, she gets the main romance with non-native Hawkeye, played by Daniel Day-Lewis). Viewed on the 25th Anniversary of its original overseas premiere on Fox Video VHS.

THE SPY WHO LOVED ME (1977) Dir: Lewis Gilbert. Probably Roger Moore’s most popular Bond film (and one of my favorites), with the debut of Richard Kiel’s Jaws, and Carly Simon’s “Nobody Does it Better.” Viewed this one at my local cinema via Cinemark’s Classic Movies (definitely saw more of Maurice Binder’s models…).

The Desert Song (1943) with Dennis Morgan. An odd film that tells a traditional WW2 desert adventure story complete with spies, sheiks, and saboteurs. But it's by way of a musical. Not too bad. 6/10.

Inherit the Wind and Dead End

Both 10/10