by Dean | Mar 29, 2015 | General
Robert Mitchum pursues a fellow serviceman who stole a lot of Army funds lest he himself be arrested for the crime in Don Siegel’s The Big Steal (1949).
Director Siegel generally pushed for as much plain realism as he could get in his studio-system entertainments, which accounts for the stark aggression and use of very little music in Steal. It’s a palatable chase movie, albeit not without improbabilities (Mitchum goes to the trouble of driving numerous sheep into the road in order to block the car of a man who’s tailing him, the Jane Greer character [Joan by name] fails to keep her crook of a fiance from snatching away her pistol).
All the same, the script is likable, the action fun, the ending a charmer. And, as in many other Siegel movies, the casting is beyond satisfactory. Siegel made man-pleasing movies which are also meant to please women, as witness Greer’s strong, feminine Joan.
by Dean | Mar 26, 2015 | General
One of the songs on the soundtrack of Frances Ha (reviewed above) is David Bowie’s “Modern Love.”
In its review of Frances Ha, the evangelical Christian website Movieguide.org affirms that the song’s lyrics seem to “slightly mock religion and confession while advocating putting trust in man over God.”
Er, wrong. The lyrics tell us that modern love is missing a spiritual aspect, and the line “puts my trust in God and man” has nothing to do with people being more trustworthy than the Deity. Not at all.
What’s to be done if a Christian website can err so badly about such a matter?
by Dean | Mar 25, 2015 | General
On Noah Baumbach’s Frances Ha (2013):
A close friendship ceases to be what it was previously. The dream of becoming a professional dancer all but deflates. The friendship and the dream belong to Frances Halliday (Greta Gerwig), she who becomes acquainted with transience.
Up to a point the film is a simulacrum of an old New Wave picture, for it was made in black and white and throws in some music Georges Delerue wrote for Truffaut. Baumbach knows this to be a good mode for 1) showing us free-spiritedness (that of Frances) and 2) reminding us of the desultory nature of life. In addition, the film can be seen as an homage to Truffaut.
Frances Ha is thin and almost undramatic—far from great. I’m not sure it belongs in a movie theatre; DVD is fine. It is, nevertheless, a small and canny work of art.
by Dean | Mar 23, 2015 | General
It is remarkable how advanced cinematography and production design are these days, and how much beauty can be put into costumes. Go see Kenneth Branagh’s Cinderella (2015) and you’ll agree with me.
Better, the film is as innocent as it is enchanting, leaving irony alone and driving home its moral meaning (“Have courage and be kind”) but without getting moralistic. Lily James is pleasingly sweet and never mushy as Cinderella. Derek Jacobi is ever the professional, ever the artist, with grace and poise, in the role of a king.
Cinderella is a Disney film and, notwithstanding critic Joe Morgenstern liked it, he also opined that “it’s no replacement for the studio’s 1950 animated classic.” If that’s true, I am eager to see the said classic since I decidedly esteem the current movie.
by Dean | Mar 22, 2015 | General
Peter Lawford is an inadequate singer but a spirited performer in the 1947 version of the movie musical, Good News, which co-stars June Allyson with her husky charm and splendid voice. A show about college life, the flick is emphatically social with fine ensemble work, although, to be honest, I didn’t catch the melody in Joan McCracken’s “Pass the Peace Pipe” number. Maybe I need to see it again. (McCracken, by the way, is a commanding singer-dancer.) Such songs as “Varsity Drag” and “Lucky in Love”, however, are solid show tunes, and there is some agreeable dancing. There: that’s the good news about Good News.
Cover of Good News
